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• ^^^^^^^ 

^CITY OF SHEFFIELD 



anxa 
88-B 
7383 



MAPPIN ART GALLERY 



CATALOGUE. 



From the Library of 
Frank Simpson 




City of mMh. 



MAPPIN ART GALLERY. 



CATALOGUE 

OF THE 

PERMANENT COLLECTION 

OF 

Pictures and other Works of Art. 



SEVE N TH E DITIO N. 



PUBLISHED UNDER THE DIRECTION OF THE 
MAPPIN ART GALLERY COMMITTEE. 



SHEFFIELD : 

WILKINSONS (printers) LIMITED, FURNIVAL STREET. 



I914. 



MAPPIN ART GALLERY. 



COMMITTEE OF THE CORPORATION. 

Councillor G, E. BRANSON, Lord Mayor. 
At.derman SAMUEL OSBORN, J. P., Chairman. 
Councillor H. BOETON, Deputy Chairman. 
Alderman W. H. BRITTAIN, J. P. 

ED. HARGREAVES. 
Councillor A. ASHMORE. 

„ G. E. STEMBRIDGE. 

„ \V. C. FENTON. 

„ ALFRED SHORT. 
S. G. HARRIvSON. 
Sir FRANK MAPPIN, Bart. 

TOWN CLERK. 

W. E. HART 

CURATOR. 

TC. HOWARTH 



THE GET 



iii. 



REGULATIONS 

FOR 

MAINTAINING ORDER IN THE GALLERY. 



The Gallery shall be open to the public on Mondays, Tuesdays, 
Wednesdays, Thursdays, and Saturdays, from lo a.m. to sunset, from 
March to October ; and from lo a.m. to 5 p.m., from November to 
February ; and on Sundays from 2 p.m. to 5 p.m., all the year round ; 
also on Good Friday from 10 a.m. to dusk ; and shall be closed on all 
other Fridays, except between the hours of 10 a.m. and 4 p.m., when 
it shall be open to Students and to such other persons only as may be 
admitted by tickets obtained from the Curator, and shall also be 
closed on such other days as may be ordered for the purpose of clean 
ing, or any other special purpose. 

No eating, drinking, smoking, or loud conversation shall be 
allowed in the Gallery. 

Visitors must be cleanly in person and dress ; and no child 
under 8 years of age will be admitted, nor any child under 14 years 
of age, unless in charge of an adult. 

Visitors shall not touch, or with any stick or other instrument 
point at any picture, statue, or other work of art in the Gallery, 
and shall not bring wet umbrellas or other objectionable articles 
into the Gallery. 

No pictures shall be photographed or copied in any way, 
except under the regulations applicable to Students, copies of which 
may be had from the Curator. 

Any person guilty of disorderly conduct in the Gallery may be 
removed therefrom by order of the Curator, and for the remainder 
of the day on which such conduct shall take place be excluded from 
the Gallery. 



On Fridays, visitors to Sheffield are admitted between the 
hours of 10 a.m. and 4 p.m., on ringing the bell at the front 
entrance of the Museum. 



iv. 



REGULATIONS FOR STUDENTS. 



Each Student desirous of copying a picture or pictures in 
the Gallery must fill in a form to be obtained from the Curator. 
If approved by the Committee, a Student's ticket will be issued, 
which must be renewed annually. 

Students will be allowed to use easels or seats for copying on 
Wednesdays and Fridays from lo a.m. to 4 p.m., and on other days 
(except Sundays and special occasions) from 10 a.m. to i p.m. 

All pictures belonging to the permanent collection, as to 
which the copyright is not reserved or vested in some other owner 
than the Corporation, may be copied by Students possessing tickets, 
provided that in the case of a picture by a living artist, the written 
permission of the artist must first be obtained and produced to the 
Curator. Every copy must be marked on the back of the canvas 
that it is copied from a picture in the permanent collection, Mappin 
Art Gallery. Pictures in the Gallery shall only be copied for 
purposes of study, and not for sale. 

Any lady Student desiring to be accompanied by a companion 
during her studies, must give notice to that effect in a letter to the 
Curator, and when the Gallery is not open to the public such 
companion will only be admitted when provided with a ticket, and 
in company with the lady Student who has apphed. 

All copies made must be at least one-fourth smaller than the 
original picture. Not more than two Students will be allowed to 
copy from the same picture at one time. 

vStudents desiring to copy from a picture, the places before 
which are already occupied, should leave their names with the 
Curator, wlio will assign them places in the order of the date of 
their application. 

No pictures exhibited on loan can be copied, except by 
written permission of the owner. 



RULES FOR ADMISSION OF WORKS 
OF ART, &c. 



That no addition to the permanent collection of pictures or 
works of art in the Gallery, whether bequeathed or offered as gifts, 
shall be finally accepted without the approval of the Committee 
of Selection, and no pictures or works of art or other things shall 
be exhibited in the Gallery without the like approval, and that no 
pictures or works of art or other things shall, under any pretence, 
be exhibited in the Gallery for the purpose of or with a view to sale. 

That the Committee of Selection shall be entitled to meet 
at the Gallery, and inspect the buildings and contents whenever 
they shall think proper ; and the Curator shall twice in every year, 
at such times as may be required by them, submit to them a Report 
on the number of visitors to the Gallery, the additions to the collection, 
and the general work done during the preceding half-year. 



lEappm ^rl Salkrg 



This Building has been erected, and the Paintings and 
Works of Art placed in the Central Gallery, in accordance 
with the terms of the Will of the late John Newton 
Mappin, of Birchlands, Sheffield, Esquire, from which the 
following is an Extract : — 

" I bequeath my large Florentine bronze, now in my dining 
room, called ' The Keppel Shepherd and his three Dogs,' and the 
black ebony stand for the same, and all my oil paintings (hereinafter 
referred to as ' the said paintings and things ') except such of them 
as are hereby or shall by any codicil to this my Will be otherwise 
disposed of unto my trustees. 

" Upon trust that they shall at any time before the expiration 
of five years next after my death, or before the expiration of such 
further period as my trustees may under any circumstances think 
fit to appoint or take for the purpose, make over the same to the 
Mayor, Aldermen, and Burgesses of the Borough of Sheffield 
aforesaid, hereinafter called the said Corporation (if they shall be 
willing to accept the bequest), if a suitable building in vSheffield, 
with proper furniture and fittings, shall, without any expense to 
my estate and to the satisfaction in all things of my trustees, have 
been provided by or assured to the said Corporation for the 
reception and exhibition thereof (either alone or together with 
any other pictures, drawings, engravings, or works of art), and a 
proper deed, to the satisfaction of my trustees, shall have been 
executed by the said Corporation, declaring the trusts of the said 
building and pictures and things, it being my wish to assist, by 
this bequest, in the formation in Sheffield of a gallery or exhibition 
of pictures and works of art, which may be o])en to the ])ublic 
in perpetuity, without any charge, and subject to such rules and 



vii. 



rcgnlaticHis (other than any regnhition for iniposint; a charge for 
adniissioi)) as niy trustees shall sanction and shall think re(iuisite 
and proper with a view to the carrying out of ni}^ wishes. 

" I bequeath to such of them, the said Frederick Thorpe 
INIappin, John Yeonians Cowlishaw, and Francis Arnold Collcy, 
as shall be living at my death, and if more than one, in equal 
shares, the sum of 15,000, and declare that such bequest is made 
to each of them who shall be so living as an individual, and 
withont reference to his office of trnstee or executor of this my will. 

" But it is my wish that the said sum of 5,000 shall be 
applied in or towards the purchase of land for the erection thereon, 
and in the erection on such land of such a suitable building as 
is hereinbefore mentioned, in relation to and for the purpose of 
being used for the reception and exhibition of the said paintings 
and things (either' alone or together with any other pictures, 
drawings, engravings, or works of art, as aforesaid), or in or towards 
the purchase of a suitable building previously erected, or in or 
towards the purchase of a building and subsequent alteration of 
or addition to the same, so as to adapt it to be used for the purpose 
aforesaid, and that the building which shall be so purchased, 
erected, or altered shall be assured to the said Corporation for 
such purpose ; and in case the said Corporation shall decline to 
accept the aforesaid bequest of the said pictures and things, or 
having accepted it shall not, wdthin the said space of five years 
next after my death, or within such further period as aforesaid, 
have complied with tlie aforesaid requirements in relation thereto, 
then that the said sum of 5,000 shall sink into and form part 
of my residuary estate. 

" Nevertheless, I declare that the foregoing expression of 
m}' wishes in relation to the said sum of 5,000 shall be precatory 
only, not imposing on the persons or person or any of the persons 
who under the bequest hereinbefore contained of the same sum 
shall become entitled thereto any legal or equitable obligation, 
condition, trust or election whatsoever, or interfering with their 
or his full and absolute right of property in relation thereto. 



viii. 



The Gallery was opened to the public on July 27tli, 
1887, when Sir Frederick T. Mappin, Bart., M.P., most 
generously presented 48 Oil Paintings of great value, and 
representing many of the leading artists of the modern 
British school. He has since supplemented these by 
further gifts of Pictures, and has been throughout a noble 
benefactor to the Institution. 

The total number of Works of Art in the permanent 
Collection is now about 400, nearly all by modern British 
artists, the whole of which have been acquired by gift or 
bequest. 

During the 25 years the Gallery has been open it has 
been visited by more than 7^ millions of people. 




CE.NXKAL GALLERY, 



(Ktt5 of MtBM 



MAPPIN ART GALLERY. 



CATALOGUE. 



The Pictures and Bronze numbered i to 154 were 
bequeathed by John Newton MAPPiN,of Birchlands, 
Sheffield. 



1. LANDSCAPE. WILLIAM MULLER. 

Signed and dated 1843. Canvas 2$in.H. T^iin.W. 

2. THE SICK CHILD. FREDERICK GOODALL, R.A. 

Signed and dated Sept. ist, 1856. Canvas i^in.H. 2o^in.W. 

The scene is the interior of a peasant's cabin in Brittany. 

3. ENTRANCE TO THE GRAND CANAL, VENICE: SUNSET. 

J. VURAM. 

Canvas iiin.H. 2gin.W . 

4. COUNT D ORSAY'S CHARGER. SIR EDWIN LANDSEER, R.A. 

Signed E.H.L. 1822. Panel uin.H. lyin.W. 

This is an unfinished sketch for a larger picture. In addition 
to the figure of the horse, which is almost finished, there is the 
fore-leg of a larger horse outlined in pencil in the foreground. 



2 



NEWTOX MAPPIN?BEQUEST— CONTINUED. 



5. THE PIAZZA NAVONA AT ROME. DAVID ROBERTS, R.A. 

Signed and dated 1857. Canvas ^yin.H. 48in.W. 

The Piazza Navona is an oblong square about 750 feet in 
length, decorated with three fountains, that in the centre 
supporting an obelisk 54 feet high, brought from the Circus of 
Romulus or Maxentius, where it was erected by Domitian. 
Opposite the fountain is the Church of St. Agnes, the front of 
which opens upon the Piazza. The Palace to the right of the 
Church is the Palazzo Pamf ili, built by Rainaldi for Innocent X. 
in 1650. The Piazza has been used as a market and place of 
recreation. 

Exhibited in the Royal Academy in 1857. 

6. WHEN TRUMPETS CALL THEN HOMES ARE BROKEN. 

GEO. HILLYARD SWINSTEAD. 

Canvas nin.H. 62in.IV. 
Exhibited in the Royal Academy in 1883. 

7. A VIEW ON THE COLNE. J. M. W. TURNER, R.A. 

Canvas 26in.H. $6in.W. 

This is one of the sober- coloured English landscapes that 
belong to Turner's first period, between 1800 and 1820. The 
other picture by Turner (No. 42) also belongs to this period. 
The colours used are few and simple, and laid on with rather 
a heavy touch. 

8. THE PERCH FISHERS. ERSKINE NICOL, A.R.A. 

Signed and dated 1857. Canvas 2^in. H. 42m. W^. 

9. THE GOOD SHEPHERD. W. C. T. DOBSON, R.A. 

Canvas ^.Gin.H. 2^in.W. 

An Eastern scene, with our Saviour as the Good Shepherd 
holding a crook and bearing a lamb in His arms. 

10. AMONG THE RUSHES. J. SYER. 

Signed and dated 1868. Canvas 2pn.H. ^6in. W. 

11. THE CHURCH OF SANTA MARIA DELLA SALUTE, VENICE. 

DAVID ROBERTS, R.A. 

Signed and dated 1862. Canvas 2Sin.H. 4Sin.W. 

This Church was founded by the Republic in 163 1 as a 
thanksgiving offering for the staying of the plague, which slew 
60,000 people in Venice. It is situated on a strip of land at the 
broadest part of the Grand Canal, and has a handsome fa9ade, 
ornamented with numerous statues, the building being 
surmounted by a massive dome and two campaniles. Inside 
the Church are three noted pictures by Titian. 

The picture was exhibited in the Royal Academy in 1859, and 
was probably afterwards re-touched and dated later. 



NEWTON MAPPIX BEQUEST— CONTINUED. 



3 



12. ON THE BEACH AT SCHEVENINGEN, HOLLAND. 

HENRI BOURCE. 

Signed and dated 1872. Canvas ^2in.H. s8in.W. 

The time is evening in autumn, when the fishing boats have 
just set out. 

13. INVIAGGIO. WILLIAM LINNELL. 

Signed and dated 1875. Canvas 2'jin.H. ^gin.W. 

14. IRISH EMIGRANTS WAITING FOR THE TRAIN. 

ERSKINE NICOL, A.R.A. 

Signed and dated 1864. Canvas igin.H. 22in.W. 
Exhibited in the Royal Academy in 1864. 

15. IN THE WHITEHALL MEADOWS, CANTERBURY. 

T. SIDNEY COOPER, R.A. 

Signed and dated 1854. Canvas 26in.H. T^Gin.W. 

16. A FLOOD ON A WELSH RIVER : BETTWS-Y-COED. 

B. W. LEADER, A.R.A. 

Signed and dated 1872. Canvas ^Gin.H. s^in.W. 

Exhibited in the Royal Academy in 1872. 

The houses of Bettws-y-Coed are on the left of the picture, at 
the base of a richly- wooded hill, while in the foreground is the 
River Uedr at the Pont-y-Pair Falls. 

17. WINTER SCENE. C. BRANWHITE. 

Initialed and dated 1857. Canvas T)i\in.H. ^^.in.W. 

18. IN FRONT OF THE SCHOOL. EDOUARD FRERE. 

Signed and dated 1881. Panel 22in.H. iS^in.W. 

A winter's morning, with snow on the ground, depicting one 
of those scenes of boy-life so characteristic of this artist. 

Exhibited in the Royal Academy in 1881. 

19. SOIFTH STACK LIGHTHOUSE, HOLYHEAD. 

THOMAS CRESWICK, R.A. 

Initialed T. C. Canvas i2in.H. i6in.W. 

20. SHEEP AND POULTRY. C. VAN LEEMPULLEN. 

Canvas 22in.H. iSin.W. 

21. THE VALLEY^ OFt THE DEE. ROBERT TONGE. 

Signed and dated April, 1852. Canvas i6in.H. 2$in.W. 



NEWTON MAPPIN BEQUEST— CONTINUED. 



22. CHRIST CALLING THE APOSTLES JAMES AND JOHN. 

E. ARMITAGE, R.A. 

Signed and dated 1869. Canvas 26in.H 42in.W. 

Our Saviour is standing on a rocky ledge by the Sea of 
Galilee, with the Apostles Peter and Andrew, whom He has 
just called from their fishing, and He is speaking to James and 
John, who are with their father Zebedee mending nets in their 
fishing boat on the sea, as described in Matt. c. 4, v. 2 1 . 

23. TROUT FISHING NEAR RICHMOND, YORKSHIRE. 

E. J. NIEMANN. 

Signed and dated 1859. Canvas i^in. H. 4 z,in.W. 
The River Swale is in the foreground, and on a hill in the 
middle distance are the ruins of Richmond Castle. 

24. AN ENGLISH COTTAGE HOME. J. AUMONIER. 

Signed and dated 1873. Canvas 2oin.H. ;^4in.W. 
Exhibited in the Royal Academy in 1873. 

25. CLAUDIO, DECEIVED BY DON JOHN, ACCUSES HERO. 

MARCUS STONE, R.A. 

Initialed and dated 1861 . Canvas S4in. H. 44m. W. 
Exhibited in the Royal Academy in 1861. 

The picture represents the scene in the Church where 
Claudio, refusing to marry Hero on account of her supposed 
infidelity, she swoons and falls into the arms of Beatrice. 
Behind Claudio are the Prince Don Pedro and Don John, the 
latter of whom regards with a sinister look the resvdt of his 
malicious plot to separate the lovers. The grouping of the 
picture was arranged by Charles Dickens, and the incident is 
taken from " Much Ado about Nothing," Act iv., sc. r. 

Friar. You come hither,- my lord, to marry this lady ?2 
Claudio. No. 

Leonato. To be married to her; friar, you come to marry her. 
Friar. Lady, you come hither to be married to this Count ? 
Hero. I do. 

Friar. If either of you know any inward impedimeot why you shoald not be 
conjoined, I charge you on your souls to utter it. 
Claudio. Know you any, Hero ? 
Hero. None, my lord. 
Friar. Know you any, Count ? 
Leonato. I dare make his answer ; none. 

Claudio. O, what men dare do ! what men may do 1 what men dailjr do^ not 
knowing what they do. 

Claudio. O Hero I what a Hero hadst thou been. 

If half thy outward graces had been placed 
About thy thoughts, and couasels of thy heart 
But, fare thee well, most foul, most fair I farewell 
Thou pure impiety, and impious purity 1 
For thee I'll lock up all the gates of love. 
And on my eyelids shall conjecture hang, 
To turn all beauty into thoughts of harm, 
And never shall it more be gracious. 

.......... {Hero twtons.) 



NEWTON MAPl'IN BEQUEST— CONTINUED^ 



5 



26. GLENGARIFF, COUNTY CORK. 

Initialed and dated 1837 

27. THE APPROACH TO CAIRO. 



T. CRESWICK, R.A. 

Canvas 26in.H. ^8in.W. 

A. SCHREYER, 

Canvas 22in.H. 4^in.W. 

Some mounted Arabs are stealthily approaching Cairo, the 
walls and buildings of which are seen in the background. 

28. LANDSCAPE. JAMES STARK. 

Panel iS^in.H. 2Sin.W. 

29. THE FISHERMAN'S COTTAGE. E. ZIMMERMAN. 

Panel 2o^in. H. 2g^in. W, 

SO. CHEVY CHASE. SIR E. LANDSEER, R.A. 

Panel igin.H. 2<)in.W. 

This is an unfinished picturefrom theBallad of Chevy Chase, 
and represents the field after the battle, with heaps of dead 
bodies of men, horses, and stags intermingled. According to 
the ballad. Earl Percy organized a grand hunt on the Border 
marches in defiance of Douglas of Scotland, and after having 
slain a great nimiber of stags, Douglas appeared with a large 
Scottish army, when there ensiied a sanguinary battle. 

This battle began in Cheviot 

An hour before the noon, 
And when evensong bell was rang, 

The battle was not half done,. 
Of fifteen hundred archers of England, 

Went away but fifty and three ; 
Of twenty hundred spearmen of Scotland, 

But even five and fifty. 



81. LANDSCAPE. 

82. LANDSCAPE. 

88. THE VILLAGE INN. 

84. LANDSCAPE IN WILTSHIRE. 

Signed and dated 1875, 

85. PACKING FISH. 



DAVID COX. 

Canvas i^in.H. igin.W. 

J. BEETON. 

Panel i2in.H. i6^in.W. 

GEO. MORLAND. 

Canvas 23m. if. loin.W. 

H. W. B. DAVIS, R.A. 

Canvas i6in.H. 27in.W. 

EDWARD HUME. 

Canvas 1 6in .H. 2$tn.W. 



6 



NEWTON MAPPIN BEQUEST— CONTINUED. 



86. LANDSCAPE. JAMES 0 CONNOR. 

Canvas i$in.H. igtn.H'. 

87. THE TIMID SUITOR. A. SOLOMON. 

Signed and dated 1856. Canvas 40m. H. 5 lin.W. 

88. THE LANDING OF THE PILGRIM FATHERS. 

G. H. BOUGHTON, A.R.A. 

Initialed and dated 1869. Canvas ^oin.H. 40in.IV. 

The Pilgrim Fathers were the founders of New E^ngland. At 
the beginning of the 17th Century there was a considerable 
secession from the Church of England of persons who objected 
to the liturgy and offices of the Church. Dissenting congrega- 
tions were thus formed which established Churches of their 
own, one of these being in Nottinghamshire and another in 
Yorkshire. Owing to severe persecution by the Church 
Authorities, these dissenters left their native country for 
Holland, and established themselves at I^eyden from 1609 to 
1620. In 1620 a goodly company of them sailed for North 
America, and landed at Cape Cod, on the New England 
Coast, on Nov. nth, where they founded a successful and 
flourishing colony. In the picture the Pilgrim Fathers have 
just landed ; and, as described in Mrs. Heman's poem on 
this subject — 

* ' They shook the depths of the desert gloom 
With their hymns of lofty cheer." 

89. LANDSCAPE. PATRICK NASMYTH. 

Signed and dated 1828. Canvas 2^in. H. ^zin.W. 

In the background of this picture are the buildings of a large 
city, conspicuous among them being a very high dome. It is 
probably a view outside London with that city in the distance. 

40. GRANDMAMMA S CHRISTMAS VISITORS. 

G. A. STOREY, A.R.A. 

Signed and dated 1873. Canvas 34in. H. zyin.W. 
Exhibited in the Royal Academy in 1874. 

41. THE CALM. P. J. CLAYS. 

Signed and dated 1870, Panel 2$in.H. ssin.W. 

42. DUNBAR CASTLE. J. M. W. TURNER, R.A. 

Canvas 24in. H. $4in. W. 

48. INTERIOR OF A COTTAGE, WITH FIGURES. 

Panel lyin.H. i4in.W. 



NEWTON MAPPIN BEQUEST— CONTINUED. 



7 



44. WINNOWING CORN IN BRITTANY. F. GOODALL, R.A. 

Signed and dated 1859. Canvas i sin. H. 22in.W. 

45. A WATER MILL IN NORTH WALES. J. J. WILSON. 

luitialed J. J. W. 1847. Canvas i4in.H. loin.W. 

46. A SAVOYARD IN THE TIME OF LOUIS XV. T. CERIEZ. 

Panel loin.H. i6in.W. 

47. SCENE IN MOROCCO. W. MULLER. 

Canvas 2sin.H. ^yin.W. 

48. SATURDAY EVENING IN CONNEMARA. F. W. TOPHAM. 

Canvas 20m. H. ^6in. W. 

49. LANDSCAPE. W. MULLER. 

Canvas 2$in.H. 2,7 in. W. 

50. A COMING STORM. B. C. KOEKKOEK. 

Signed and dated 1855. Panel igin.H. 2yin.W. 

The Rhine is seen in the brighter lights of the picture, with 
the buildings of a town situated on its banks. 

51. GIRL BLOWING SOAP BUBBLES. VAL. C. PRINSEP, R.A. 

Canvas 2iin. H. 2 lin. W. 

52. SCENE IN AN IRISH CABIN. E. NICOL, A.R.A. 

Signed and dated 185 1.. Canvas i6in.H. 22in.W . 

53. LANDSCAPE IN WALES. HENRY BRIGHT. 

Canvas i^in.H. 2iin.W. 

54. THE EMPTY SADDLE. ERNEST CROFTS, A.R.A. 

Signed and dated 1882. Canvas loin.H. isin.W. 

There is a sharp encounter between Cavahy on the left of 
the picture, and a riderless horse is rushing from the battle, 
having left its owner wounded on the ground. 

55. THE TIMBER WAGON. JOHN LINNELL. 

Signed and dated 1871. Canvas 2gin.H. ^gin.W. 

56. A MILLSTREAM IN ESKDALE. T. CRESWICK, R.A. 

Signed and dated 1865. Canvas 2gin. H. ^Sin.W. 



8 



NEWTON MAPPIN BEQUEST— CONTINUED. 



67. THE KNIFE GRINDER. N. CHAILLOU. 

Canvas ^lin.H. 22tn.W. 

68. TO THE DEATH. JOHN PETTIE, R.A. 

Signed and dated 1877. Canvas ^yin.H. ssin.W. 

The scene is on the edge of a wood, and the two men fighting 
to the death with the sword and dagger are in strong contrast ; 
the one in light dress on the right being an Englishman, while 
the one in black, on the left, is a foreigner, with an intensely 
malignant look flashing from his eye. The cloaks are folded 
on the arm as a protection against dagger thrusts. E^xhibited 
in the Royal Academy in 1877. 

69. THE VILLAGE FESTIVAL. F. GOOD ALL, R.A. 

Signed and dated 1843. Canvas $8in.H. siin.W. 

This is a careful full-sized copy of the picture by Sir David 
Wilkie. The original is in the National Gallery, and was 
painted by Wilkie in 181 1, for Mr. Angerstein, with whose 
pictures it was purchased by Parliament in 1824. It has been 
several times engraved. 

60. THE OLD HALL, LINCOLNSHIRE. HY. BRIGHT. 

Canvas 2gin.H. $2in.W. 

61. LANDSCAPE, WITH SHEEP. JOHN LINNELL. 

Signed and dated 1869. Canvas 2gin. H. ^lin.W. 

62. SEA PIECE. COPLEY FIELDING. 

Signed and dated 1826. Canvas 2^in.H. ^^in.W. 

In the background, extending from the left to the open sea on 
the right, are tall white chffs, with a castle ; very probably the 
cliffs of Dover and Dover Castle. 

68. SAVOYARD, WITH CLARIONET. 



64. THE ROYALIST. 

Painted in 1870 

65. SCENE IN ALGIERS. 



66. THE PURITAN. 

Painted in 1870. 



E. BARNES. 

Canvas ^lin.H. 2iin.W. 

JOHN PETTIE, R,A. 

Canvas 2ylin.H. \8in.W. 

WILLIAM MULLER. 

Canvas 2<.in.H. ^yin.W. 

JOHN PETTIE, R.A. 

Canvas 28in.H. loin.W. 



NEWTON MAPPIN BEQUEST— CONTINUED. 



9 



67. WHERE THE NIBBLING FLOCKS DO STRAY. 

WM. LINNELL. 

Signed and dated 1857. Canvas 41m. H. 64in . W. 
Exhibited in the Royal Academy in 1857. 

68. A STREET IN BRUGES. R. P. BONINGTON. 

Panel i2in.H. iiin.W. 

69. LANDSCAPE. E. J. NIEMANN. 

Signed and dated 1863. Canvas 2 pn. H. iSin.W. 

70. ORIENTAL AND GIRL. WM. MULLER. 

Panel 1 2 in . H. Sin. W 

71. A PEEP UP THE VALLEY OF LLANGOLLEN. 

ROBERT TONGE. 

Signed and dated. 185 1 . Canvas i^in. H. 2/^in.W. 

72. CARNIVAL TIME, SEVILLE 1860. JOHN PHILLIP, R.A. 

Initialed and dated i860. Canvas 2gin..H. 22in.W. 

The Carnival is a season of festivity observed with much 
pomp and ceremony in the chief cities of the Catholic coimtries 
of Europe. It begins on the day of the Epiphany, and ends on 
Ash Wednesday, and its most characteristic recreation is that 
of masquerades, which take place generally on the three or 
four days immediately preceding I^ent. The picture shows an 
incident of one of these masquerades in Spain, where a gentle- 
man holding a guitar has immasked and is asking a lady, who 
has captivated his fancy, to favour him with a view of her 
face. 

73. MARINE PIECE. J. B. PYNE. 

Signed and dated 1847. Canvas 2oin. H. 26in.W. 

74. THE STORM. P. J. CLAYS. 

Canvas $2in.H. ^gin.W. 

75. A LADY OF THE EIGHTEENTH CENTURY. 

JOHN PETTIE, R.A. 

Painted in 1877, and presented to John Newton Mappin by 
the Artist. Canvas i$in.H. gin.W. 

76. AGRICULTURE IN THE VALLEY OF THE NILE. 

F. GOODALL, R.A. 

Initialed and dated 1874. Canvas i^^in.H. ^lin.W. 
Exhibited in the Royal Academy in 1875. 

77. LANDSCAPE, WITH FIGURE. W. MULLER 

Canvas isiu.H. iiin.W 



IG 



NKV. TON' MAPPIN BEQIJE.ST— COM j N L ED. 



78. THE INTRUDER ON THE BEDOUIN S PASTURES. 

F. GOOD ALL, R.A. 

Initialed and dated 1876. Canvas ^oin.H. 98m. W. 

The intruder is a Negro, mounted on a camel, who has just 
arrived in front of two Bedouins who are rechning on the 
ground, while their camels, sheep, and goats are feeding on 
a scanty pasture near some water in a large desert scene. 

Exhibited in the Royal Academy in 1876. 

79. THE RAINBOW. ROBERT TONGE. 

Signed and dated 1854. Canvas i6in. H. 2sin.W. 

80. THE WATER DRINKERS. JOHN PHILLIP, R.A. 

Initialed and dated 1862. Canvas 2iin.H. 2/in.W. 
Exhibited in the Royal Academy in 1862. 

81. THE HIGHLAND GILLIE. JOHN PHILLIP, R.A. 

Cafivns iSin.H. ziin.W. 

This picture is much earlier than any of the other works in 
the Gallery by Phillip, being painted before the artist paid his 
first visit to Spain, which visit had a powerful effect on the 
style of his work. It is interesting to compare this picture 
with the two near to it (Nos. 72 and 80), representing scenes in 
Spain, 

82. VIEW IN SUFFOLK. GEO. VINCENT. 

Canvas i,6in.H. ^'^in.W. 

83. ON THE SEA SHORE. A. MAUVE. 

Canvas \yin.H. i4in.W. 

84. THE DRUMHEAD COURT MARTIAL. J. PETTIE, R.A. 

Signed and dated 1865. Canvas 28in. H. 42in. W. 
Exhibited in the Royal Academy in 1865. 

86. LITTLE NELL AND HER GRANDFATHER IN THE WOOD. 

W. Q. ORCHARDSON, R.A. 

Initialed W.Q.O. Canvas 2pn.H. zoin.W. 

" A bird," said the child, " flying into the wood, and lead- 
ing the way for us to follow. You remember that we said we 
would walk in the woods and fields, and by the sides of rivers, 
and how happy we would be — you remember that ? But here 
while the sun shines above our heads and everything is bright 
and happy, we are sitting sadly down and losing time. See 
what a pleasant path : and there's the bird — the same bird — 
now he flies to another tree, and stays to sing. Come ! " 

" Old Curiosity Shop." 



NEWTON MAPPIN BEQUEST— CONTINUED. 



11 



86. THE HAYMAKERS. J. T. LINNELL. 

Signed and dated 1862. Canvas 37 in. H. 6iin.W. 
Exhibited in the Royal Academy in 1862. 

87. CUPIDS, WITH BIRDS. LUTZENS. 

Canvas loin.H. i2in.W. 

88. THE SALMON TRAP. HARRY JOHNSON. 

Canvas 2oin.H. i6in.W. 

Copy of picture by W. Miiller. 

89. CUPIDS, WITH FLOWERS. LUTZENS. 

Canvas loin.H. izin.W. 

90. LANDSCAPE. T. CRESWICK, R.A. 

Canvas 2 pn. H. $oin.W. 

91. CORNFIELD, OR COUNTRY LANE. J. CONSTABLE, R.A. 

Canvas 4oin. H. ^lin.W. 
This is a replica of the picture in the National Gallery. 

92. LANDSCAPE. J. CONSTABLE, R.A. 

Canvas ;^oin. H. 2 ^in.W. 

93. WELLINGTON'S MARCH FROM QUATRE BRAS TO WATER- 

LOO. ERNEST CROFTS, R.A. 

Signed and dated 1878. Canvas 4iin. H. jSin.W. 

Quatre Bras is a small village at the junction of four roads, 
where the great road from Charleroi to Brussels intersects that 
from Namur to Nivelles, and is about 20 miles from Brussels. 
On Jime i6th, 181 5, the AlUed Army, under Wellington, was 
attacked by the French, under Marshal Ney, at Quatre Bras, 
and, after a fiercely -contested battle, both armies remained on 
the field. The next morning Wellington withdrew his forces 
in a masterly manner to Waterloo, where he expected to join 
Blucher, who, on the previous day, had been engaged with 
his Prussian Army against Napoleon at Ligny. The picture 
shows the AUied Army on the march, with Welhngton in the 
foregroimd at the head of a long line of Infantry, cheered by 
his Cavalry who are waiting to cover the rear, while in the 
background the Artillery are keeping the French in check. A 
companion picture to this (No. 203) shows the Field of Water- 
loo on the morning of the battle, with the French headquarters. 

Exhibited in the Royal Academy in 1878. 



12 



NEWTON MAPPIN BEQUEST— CONTINUED. 



94. CHRIST'S REPROOF TO THE PHARISEES. 

E. ARMITAGE, R.A. 

Signed and dated 1873. Canvas 44m. H. jzin.W. 

' ' And it came to pass on the second sabbath after the first, 
that He went through the com fields ; and His disciples 
plucked the ears of com, and did eat, rubbing them in their 
hands. 

" And certain of the Pharisees said imto them, Why do ye 
that which is not lawful to do on the sabbath day ? 

" And He said unto them, that the Son of Man is Lord also 
of the sabbath." — I^uke c. vi., verses i, 2, and 5. 

Exhibited in the Royal Academy in 1873. 

96. THE WINDMILL. W. J. MADLINER. 

Signed and dated 1843. Panel iiin.H. i^in.W. 

96. SANTA MARIA MAGGIORE— MOONLIGHT. J. VURAM. 

Canvas iiin.H. 2^\in.W. 
This Church is situated near to the Grand Canal, Venice. 

97. IN MONSAL DALE, DERBYSHIRE. A. VICKERS. 

Panel iiin.H. lyin.W. 

98. THE LAST OF THE CREW. C. STANFIELD, R.A. 

Signed and dated 1852. Canvas 2c,in.H. ^yin.W. 

99. SCENE FROM " THE FAIR MAID OF PERTH. 

JOHN PHILLIP, R.A. 

Canvas 4gin.H. ^^in.W. 
This is an imfinished picture, and was purchased from the 
artist's studio after his death. It represents the scene described 
at the opening of Chapter 14 of Scott's novel : — " Instead of 
a Gothic and darkened apartment in a monastery, one of the 
most beautiful prospects in Scotland lay extended beneath the 
hill of Kinnoul, and at the foot of a rock which commanded 
the view in every direction sat the Fair Maid of Perth, listen- 
ing in an attitude of devout attention to the instructions of a 
Carthusian Monk, in his white go\^^l and scapular, who con- 
cluded his discourse with prayer, in which his proselyte 
devoutly joined." 



100. THE WIND MILL. 



JOHN CROME. 

Canvas 30m. H. 2$in.W. 



NEWTON MAPPIN BEQUEST— CONTINUED. 



18 



101/. THE RELIEF OF LUCKNOW ("JESSIE'S DREAM. ) 

F. GOODALL, R.A. 

Signed and dated 1858. Canvas 24in.H. $oin. W. 

The Siege of Lucknow was one of the most thrilling incidents 
of the Indian Mutiny. On June 8th, 1857, 1,000 Europeans 
and about 700 natives were besieged by a numerous horde of 
Sepoys, never less than 30,000 and sometimes as many as 
100,000 in number. These kept up a constant cannonade 
against the place, and for four months only once was a mes- 
senger able to go out and return. The place held out till Sept. 
25th, when it was relieved by General Havelock and Sir James 
Outram, but with a force insufficient to take away the garrison; 
so for another eight weeks the siege continued, being finally 
raised by Sir Colin Campbell in Nov., 1857. The picture 
shows some of the defenders of I^ucknow who have heard the 
sound of the approach of the relieving army, and is taken 
from an incident of the siege described in a poem called 
" Jessie's Dream." 

102. DOG AND RABBIT. T. EARLE AND H. BRIGHT. 

Signed and dated 1862. Canvas iiin.H, 4iin.W. 
The Landscape was painted by H. Bright, and the Dog and 
Rabbit by T. Earle. 

103. WINTER SCENE. L. MUNTHE. 

Canvas 2iin.H. ^$in.W, 

104. « IT IS NEVER TOO LATE TO MEND." J. BURR. 

Signed and dated 1863. Canvas ^^'^n.H. ^oin.W . 
Exhibited in the Royal Academy in 1863. 

105. SEA PIECE. G. CHAMBERS. 

Signed and dated 1834. Canvas 2Sin.H. ^6in.W. 

106. LANDSCAPE. M. A. KOEKKOEK. 

Signed and dated 1864. Canvas 2yin. H. ^2in.W. 

107. HUDIBRAS AND RALPHO IN THE STOCKS. 

J. PETTIE R.A. 

Signed and dated 1867. Canvas lyin.H. 24in.W. 
This Scene is from Part I., Canto III., of the satirical poem 
of " Hudibras," by Samuel Butler, born 1612, died 1680. 
Hudibras and his Squire Ralpho, in quest of adventures, 
attacked a party of bear-baiters, one of whom they put into 
the stocks ; but the following day they were overpowered bj 
the rabble, who released their companion and placed the 
Knight and his Squire in the stocks. 

But Hudibras, who scom'd to stoop 

To Fortune, or be said to droop, 

Chear'd up himself with ends of verse, 

And sayings of Philosophers. 



14 



NEWTON MAPPIN BEQUEST— CONTIN UED. 



108. HUNT THE SLIPPER. F. GOOD ALL, R.A. 

Signed and dated i860. Panel igin.H. 26in.W. 

109. THE NOTARY PUBLIC. A. ANKER. 

Signed and dated 1 876. Canvas 2^in. H. 2 1 in.W. 

110. COAST SCENE. C. STANFIELD, R.A. 

Canvas i6in.H. 22in.W. 

111. FLORA MACDONALD S INTRODUCTION TO PRINCE 

CHARLIE. A. JOHNSTON. 

Canvas ^^in.H. 62in.W. 
After the Battle of CuUoden, which was fought in April, 
1746, when the English Army defeated the Highland adherents 
of Prince Charles, that Prince was hidden for several months in 
the Highlands and Islands of Scotland, where diligent search 
was made for him by the British Government, and a reward of 
;^3,ooo offered for his capture. In May, 1746, when in South 
Uist, General Campbell appeared and subjected the island to a 
rigorous search. It was at this time that Flora Macdonald was 
introduced to the Prince, as we see her in the picture, just 
entering the Cabin, attended by her maid, Betty Burke, and 
her servant, Neil MacEachan, and being conducted by a 
Jacobite Chief to the Prince, who is seated by the fire. Flora 
Macdonald imdertook to convey the Prince to the Island of 
Skye, and this she succeeded in doing in the guise of her maid. 
Her share in this transaction afterwards became known to the 
Government, and she was seized and sent to I^ondon, where 
she was imprisoned for a year. On her release, the ladies of 
London subscribed for her nearly ;^i,5oo. She was 24 years 
of age at the time of this adventure, and soon after her hbera- 
tion she married and resided in the Isle of Skye, where she 
died in 1790. At the left of the picture, on the floor, with a 
dagger resting on it, is a copy of the proclamation offering a 
reward for the capture of the Prince. In the engravings of 
this picture the printing on the proclamation is shown, but 
this was afterwards painted out by the artist, the document 
itself only being indicated. 

112. WINTER. H. R. ROBERTSON. 

Canvas 4oin. H. 6sin.IV. 

113. SKATING IN HOLLAND. 

Panel i$in.H. $8in.W. 

114. VINTAGE OF SEVILLE. J. PHILLIP, R.A. 

Canvas $2in.H. ^Sin.W. 
An unfinished picture purchased from the artist's studio 
after his death. 

115. GRAPES AND VINE LEAVES. W. J. MUCKLEY. 

Signed and dated 1869. Canvas igin. H. 2sin.IV. 

116. SEA FIGHT. F. MliSIN. 

Canvas 22in.H. s4in.IV 



NEWTON MAPPIN BEQUEST— COKTL\ UED. 



15 



117. THE FALL OF CLARENDON. E. M. WARD, R.A. 

Signed and dated 1861. Canvas 2?>in. H. T^^iiLW. 
Lord Clarendon was Chancellor under Charles II., and for 
many years his chief favourite, but during the war with 
Holland in 1667, when the Dutch Fleet sailed up the Thames, 
sunk the shipping, and bombarded the coasts, there was a 
great popular outcry against Clarendon's administration as 
being the cause of these disasters. Clarendon also excited the 
anger of the King by condenming the licentiousness of the 
Court, and when the Chancellor waited upon the King to seek 
his support, and reminded him of his long and faithful services, 
his majesty quitted the room without giving him any reply, and 
this was the last interview Clarendon had with him. In the 
picture we see the King approaching the gate of the garden, 
while Clarendon is descending the steps, and Lady Castlemaine, 
the King's mistress, with Lord Arlington, watch him from the 
balcony, delighted at his fall. The scene occurred at Whitehall 
Palace in 1667. Clarendon was banished from the kingdom, 
and died at Rouen in 1674. 
A smaller copy of this picture is in the National Gallery. 

118. FLOWERS. ADRIAN A HAANEK. 

Panel iSin.H. 2 2,in.W. 

119. THE LAST OF THE SPANISH ARMADA : A SCENE ON THE 

WEST COAST OF SCOTLAND. IN 1587. C. E. JOHNSON. 
Signed and dated 1869. Canvas I'^in.H. ^^in.W. 
Exhibited in the Royal Academy in 1869. 

120. LADY JANE GREY IN THE TOWER. W. F. YEAMES, R.A. 

Signed and dated 1867. Canvas iiin.H. lyin.W. 

This imfortunate Lady (whose mother was niece of Henr}^ 
Vm.,) was at the age of 16, proclaimed Queen much against 
her o\ATi inclination, on the death of King Bdward in July, 
1553, her ambitious father-in-law, the Duke of Northumberland, 
having induced the King to name her in his will the successor 
to the throne. The nation, however, decided on Mary, 
daughter of Henry VIII., as the rightful Queen, and she was 
accordingly proclaimed and crowned, the Lady Jane Grey 
having been only nominally Queen for nine days. On her 
entry into London, Queen Mary had Lady Jane Grey placed 
in the Tower, and she was brought to trial on Oct. 13th, when 
she was condemned to be beheaded or burnt at the Queen's 
pleasure. Her father, the Duke of Suffolk, having headed a 
rebellion in January, 1554, when a good deal of disaffection was 
displayed on accoimt of the Queen's betrothal to Philip of Spain , 
the Queen, to rid herself of a dangerous rival, had Lady J ane Grey 
beheaded in February, 1 5 54. vShe firmly resisted all the efforts 
made by the emissaries of Mary to induce her to change her 
faith. Three da3'^s before her execution, Feckenham, the 
Queen's Chaplain, engaged her in a learned disputation, from 
which he was obliged to retire discomfited. 

This is the finished sketch for a larger picture exhibited in the 
Royal Academy in 1868. 



16 



NEWTON MAPPIN BEQUEST— CONTINUED. 



121. THE PROPOSAL. SIR J. EVERETT MILLAIS, R.A. 

Canvas 2 oin. H. i6in.W. 
This picture was sent to Sir J. Everett Millais for his in- 
spection early in 1889, and in a letter received fromiiim he says 
that he painted it when he was about 15 or 16 years of age. It 
bears his monogram on the left of the canvas. 

122. BRIGHTON PIER. T. CRESWICK, R.A. 

Initialed T.C. at end of pier. Panel loin.H. Sin.W. 

123. FIGURE PIECE. PH. SADEE. 

Canvas J2in.H. loin.W. 

124. AULD ROBIN GRAY. T. FAED, R.A. 

Panel S9'in.H. 2gin.W. 
The ballad of " Auld Robin Gray " was written by Lady 
Anne Lindsay about 1772, and describes how Jenny's lover 
having gone to sea, she is pressed to marry Auld Robin Gray, 
which she consents to do under the impression that her lover 
is drowned. The scene in the picture is described in the 
following lines of the poem : 

My father urged me sair ; though my mother didna' speak, 
She look'd in my face till my heart was like to break ; 
So they gied him my hand, though my heart was at the sea. 
And Auld Robin Gray is a gudeman to me. 

This was the first picture by Faed exhibited in the Royal 
Academy. It was painted about 1850. 

125. A STRAY SHOT. 

SIR E. LANDSEER, R.A., AND ROSA BONHEUR. 

Canvas z^yin.H. ^6in.W. 
The Roebuck was painted by Sir B. Landseer, and the Land- 
scape by Rosa Bonheur. 

126. GATHERING SEA-WEEDS. F. McCALLAM. 

Canvas 2oin. H . lyin.W. 

127. GRANDFATHER'S ADVICE. G, B. O'NEILL. 

Panel i^in.H. i2in.W. 

128. THE RIALTO, VENICE. JAMES HOLLAND. 

Millboard i2in.H. i2in.W. 

The Rialto is the oldest part of the City of Venice, and it is 
the largest of all the islands on which the City now stands. 
The Rialto Bridge, which is shown in the picture, is an impos- 
ing structure, built towards the end of the i6th Century. The 
span of the arch is about 90 feet, and the width of the bridge is 
72 feet, which is divided longitudinally into 5 parts ; that is, 
into 3 streets or passages, and 2 rows of shops. 



NEWTON MAPPIN BEQUEST— CONTINUED. 



17 



129. ROBERT BURNS AND HIGHLAND MARY. T. FAED, R.A. 

Signed and dated 1852. Panel loin.H. i2in.W. 
Many of Burns' poems are inspired by his love for Highland 
Mary, and more than once he refers to sitting mider the Birch 
with her, as we see them in the picture. 

How sweetly bloom 'd the gay green birk ! 

How rich the hawthorn's blossom. 
As underneath their fragrant shade, 
I clasp'd her to my bosom ! 

The golden hours, on angel wings, 

Flew o'er me and my dearie ; 
For dear to me as light and life 

Was my sweet Highland Mary ! 

Exhibited in the Royal Academy in 1852. 

130. OLIVER CROMWELL. ROLAND LE FEVRE. 

Panel iiin.H. Sin.W. 



131. THE RUSTIC CROP. A. H. BURR. 

Initialed A. H. B. Canvas iSin.H. i6in.W. 

132. HELPING THE POOR. 

Panel iT,^in.H. iSin.W. 

133. BOTHERED. M. RHODES. 

Canvas 24in. H. 2 1 in. W. 

134. A RATSELLER DURING THE SIEGE OF PARIS. 

N. CHAILLOU. 

Canvas 24in.H. igin.W. 

135. JOHN KNOX REPROVING MARY QUEEN OF SCOTS. 

W. P. FRITH, R.A. 

Canvas 28lin. H. ^Slin.W. 

John Knox, both in public and private, often upbraided the 
Queen for her adhesion to the Roman Catholic Faith, and also 
for what he regarded as levity in her general conduct and 
habits ; and this he did in no measured terms. The interview 
portrayed in the picture is well described in the following 
passage from M. Crie's Life of Knox " : — " At these words 
the Queen began to weep and sob with great bitterness. The 
Superintendent, who was a man of mild and gentle spirit, tried 
to mitigate her grief and resentment ; he praised her beauty, 
accompHshments, &c. During this scene the severe and 
inflexible mind of the Reformer displayed itself : he continued 
silent and with unaltered countenance until the Queen had 
given vent to her feelings." 

This picture was exhibited in the Royal Academy in 1844, and 
it is referred to in Frith' s " Autobiography and Reminiscences." 



18 



XEWTOX MAPPIN BEQUEST 



•—CONTINUED. 



136. WHEN THE CAT'S AWAY THE MICE WILL PLAY. 

T. DUVERGER. 

Panel ijin.H. 2yin.W. 

Boys in Schoolroom taking advantage to engage in play 
during the master's temporary absence. 

137. LANDSCAPE. B. C. KOEKKOEK. 

Signed and dated 1853. Canvas 2i^\in. H. 42\in.W. 

138. THE MUSICAL PARTY. A. H. BURR. 

Signed and dated 1881. Canvas lyin.H. i^^in.W. 

139. VENETIAN FISHING CRAFT ON THE ADRIATIC— SHORE 

OF LIDO. E. W. COOKE, R.A. 

Signed and dated 1857. ' Panel izin.H. lyin.W. 
Exhibited in the Royal Academy in 1858. 

140. THE DISTAFF. W. LINNELL. 

Signed and dated 1868. Panel i6\in.H. i^^in.W. 

141. THE FRENCHMAN PLAYING TO HIS BIRD. 

W. ROEGGE. 

Sig)icd and dated 1872. Canvas lylin.H. i4^m.TF. 

142. A SALLY. JOHN PETTIE, R.A. 

Canvas $2in.H. soin.W. 
Exhibited in the Royal Academy in 1870. 

143. MONT S. MICHEL, NORMANDY. JAMES WEBB. 

Signed and dated 1873-4. Canvas 2^in.H. 40in.IV. 

144. RESTING. EDWARD HUMPHERY. 

Signed and dated 1875, Canvas ig^in.H. 2$hin.W. 

145. THE FLAG OF TRUCE. J. PETTIE, R.A. 

Canvas $pn.H. 42m. W. 
Exhibited in the Royal Academy in 1873. 

146. SALISBURY CATHEDRAL. J. CONSTABLE, R.A. 

Canvas ^oin.H. ^oin.W. 

147. TREASON. J. PETTIE, R.A. 

Signed and dated 1867. Canvas ssin. H. 55zw.H^ 
Exhibited in the Royal Academy in 1867. 

148. VIEW AT HERTFORD. E. J. NIEMANN. 

Signed and dated 1859. Canvas 2$in. H. 4sin.W. 



XEWTON MAPriX BEQUEST— CONTINUED. 



19 



149. AUTUMN FLOWERS. CHARLES GUSSOW. 

Signed and dated 1873. Panel 22 lin. H. i7\in. W. 

150. LANDSCAPE. PATRICK NASMYTH. 

Sig)ied and dated- 1834. Canvas igin. H. 2$in.W. 

151. THE PROMENADE AT VERSAILLES IN THE TIME OF 

LOUIS XV. L. M. C. DANSAERT. 

Canvas i6in.H. 24in.W. 

152. THE DOJANA, VENICE— EARLY MORNING. J. VURAM. 

Canvas iiin.H. zgin.W. 

153. ITALIAN SOLDIER. E. T. CASTAGNOLO. 

Signed and dated 1855. Water Colour i^^in.H. io\in.W. 

154. KEPPEL SHEPHERD AND DOGS, WITH DEAD WOLF. 

WAAGEN. 

Signed and dated 1869. Bronze 4,7in.H. 

End of J. Newton Mappings Bequest {Nos. 1 to 154). 



The Pictures numbered 155 to 234 were presented by 
Sir Frederick T. Mappin, Bart., M.P. 



155. THE SPIRIT OF CHIVALRY. DANIEL MACLISE, R.A. 

Canvas c^zin.H. 2,^in.W. 

The Spirit of Chivalry is represented by the figure of a 
woman standing beside an altar, while round about her are 
several figures representing Religion, Music, Poetry, &c. 
Below is a Knight kneeling, and with hands outstretched to the 
woman is dedicating himself to her. This picture was one of 
the competitive designs for a fresco in the House of Lords. 

156. LANDSCAPE, WITH SHEEP CROSSING A BRIDGE. 

F. R. LEE, R.A., AND T. S. COOPER, R.A. 

Signed F. R. Lee, R. A., 1849. Canvas 26in.H. ^^in.W. 

157. OFF THE COAST. EDWIN ELLIS. 



Canvas igin.H. -^^in.W. 



20 



SIR FREDEKICK T. MAPPIN'S GIFT— CONTINUED. 



158. THE WHEEL OF FORTUNE. H. DE. CALLIAS. 

Signed and dated iSyy. Canvas ii pn.H. jiin.W 
An imaginative picture in a characteristic French style of 
execution. Fortune is represented by a winged female figure 
with a white gossamer garment floating about her, and a small 
wheel under her foot. In her left hand she holds a cornucopia, 
symbolical of plenty, out of which she is pouring golden coins 
into the abyss below her, while her face is mockingly turned to 
a lean and haggard man, who is climbing some steep rocks to 
reach her, but only succeeds in clutching the hem of her gossa- 
mer garment. 

159. CARDPLAYERS. HERMAN TENKATE. 

Panel i^in.H. 2oin.W. 

160. SCENE FROM " LE DIABLE BOITEUX. " A. L. EGG, R.A. 

Canvas loin.H. igin.W. . 

The scene is where Patricio, having met two ladies who had 
been to secure a place for witnessing the bull fight, has taken 
them to a tavern to have breakfast. 

161. LANDSCAPE, WITH CATTLE. L. CHIALIVA. 

Panel i^in.H. 2oin.W. 

162. SISTERLY HELP. EDOUARD FRERE. 

Signed and dated 1882. Canvas i8in. H. i c,in.W. 

163. THE GUARDSHIP OF THE NORE. E. J. NIEMANN. 

Canvas igin.H. 2^in.W. 

164. THE FRENCH IN CAIRO. WALTER C. HORSLEY. 

Signed and dated 1884, Canvas ^6in. H. ^oin.W. 

The incident represented is one that took place during the 
occupation of Cairo by the French in and about the year 1 799. 
Napoleon gave orders that French names should be carved 
on the principal towers and gates of the town, and here the 
name "Napoleon" is being carved by one of the French soldiers 
very much to the satisfaction of his comrades, whose rather 
ragged condition bears evidence to the great hardships 
suffered by the French army after the battle of Aboukir, 
which shut up Buonaparte in Egypt, cut off from all commimi- 
cation with France. Their feeling towards Nelson is shown by 
the figure chalked out on the lower part of the tower with the 
letters " Sir Nelson." The scene is on the wall looking over 
the city near to the Bab-en-Nasr, and to give additional effect 
to the proceedings the Sheikhs are compelled by Napoleon's 
order to be present. 

The picture was exhibited in the Royal Academy in 1884, and is 
figured in the " Art Journal " for the folloiving year. 



SIR FREDERICK T. MAPI'IX'S GIFT— OONITNUBD. 



21 



165. CONISTON LAKE. S. R. PERCY. 

"The rugged cradle of an infant stream.*' 

Signed and dated 1875. Canvas 48m. H. "/^in.W, 

166. GRANDMOTHER S PRESENT. J. C. HORSLEY, R.A. 

Signed and dated 1865. Canvas 2oin. H. 2 $in.W. 

167. LANDSCAPE, NORTH WALES. JOHN SYER. 

Signed and dated 1864. Canvas 2iin. H. ^pn.W. 

168. A HIGHLAND RIVER SCENE, WITH SALMON TRAP. 

JAMES HOLLAND. 

Canvas S2in.H. 42in.W. 

169. CHARLES L LEAVING WESTMINSTER HALL AFTER 

SENTENCE OF DEATH HAD BEEN PASSED. 

SIR JOHN GILBERT, R.A. 

Signed and dated 1872. Canvas 4gin. H. yT,in.W. 
Exhibited in the Royal Academy in 1872. 
The trial of Charles I. took place in January, 1649, before 
Commissioners appointed as a High Court of Justice by the 
Commons. The Commissioners appointed numbered 135, but 
only 66 attended the Trial. In the picture the Trial has just 
ended, and the King has been sentenced to death, and is now- 
passing out of the Hall, preceded by a Parliamentarian soldier. 
An enthusiastic loyalist kisses his robe as he passes. In the 
background are the Commissioners, the one in the chair being 
John Bradshaw, a native of Cheshire, who w^as elected Presi- 
dent of the Court. 

170. LANDSCAPE. W. MULLER. 

Signed and dated 1836. Canvas ^lin.H. 6yin.W. 

111. THE RIVALS. C. E. HALLE. 

Canvas 44tn H. 35m. PF. 

172. DUTCH FISHING BOATS. P. J. CLAYS. 

Signed and dated 1872. Canvas 25m. H. ^^in.W. 

173. MAN AND HARES. OTTO SCHOLDERER. 

Initialed and dated 1880. Canvas 447^. H. t,6vii.W. 

174. THE HALT ON THE HILLS. T. S. COOPER, R.A. 

Signed and dated 1847. Canvas 6oin. H. g6in.W. 
Cattle was the almost unvaried subject of Mr. Cooper's 
brush through his whole career, and in 1895, at the age of 92, 
lie exhibited some cattle pictures in the Royal Academy. His 
groups of oxen, sheep and goats commingled are admirable 
studies from life, and form his most successful compositions. 
The Halt on the Hills, in which these animals appear, is one 
of the finest examples of Cooper's best period of work. The 
drovers are refreshing at the inn on the right, leaving their 
flocks to foregather together in the excellent and natural 
grouping sho^vn in the picture. 



22 Sm FREDERICK T. MAPPIN'S GIFT— CONTINUED. 



175. HOW THE BOAT CAME HOME. C. NAPIER HEMY, A.R.A. 

Signed and dated 1886. Canvas 5n';?. H. y^in.W. 

176. MOTHER AND CHILD. J. T. PALING. 

Signed and dated 1882. Canvas ■^lin.H. 26in.W. 

177. HEAD OF A GIRL, WITH ROSES. C. BROCKY. 

Canvas lyin.H. i^in.W. 

178. THE FIRST-BORN. F. GOODALL, R.A. 

Initialed and dated 1861. Canvas $2in.H. ^oin.W. 
Exhibited in the Royal Academy in 1861. 

The finished sketch of this picture in water-colour is in the 
Jones' Bequest in the South Kensington Museum. 

179. IN HORA MORTIS (IN THE HOUR OF DEATH). 

W. C. SYMONS. 

Signed and dated 1875, Canvas 6oin. H. 46m. W. 

A pathetic and realistic scene outside a Monastery, where a 
Monk, who has been on his errands of charity in the surround- 
ing country has returned, exhausted and dying. He is sup- 
ported and comforted by one of his comrades, while others are 
descending the steps of the Monastery to administer the last 
rites of the Church. On the back of the picture is the follow- 
ing quotation : — " The time of my departure is at hand. I 
liave fought a good fight, I have finished my course, I have 
kept the faith : henceforth there is laid up for me a crown of 
righteousness, which the Lord, the Righteous Judge, shall give 
to me at that day." — 2 Tim. iv., v. 7 and 8. 

180. A MOUNTAIN WATERFALL IN SNOWDONIA. 

W. MULLER. 

Canvas $oin.H. S^in.W. 

181. A STREET IN CAIRO. J. VARLEY. 

Signed and dated 1878. Canvas ^lin. H. 2iin.W. 



182. IVY LEAVES. C. GOGIN. 

Signed and dated 1^77. Canvas igin. H. 2\in.W. 



SIR FREDERICK T. MAPPIX'S GIFT— CONTINUED. 



23 



183. A SUMMER AFTERNOON. H. W. B. DAVIS, R.A. 

Signed and dated 1873. Canvas siin.H. ggin.W. 
1 IX /lib lied in the Royal Academy in 1873. 

Cattle form the favourite subjects for this artist's work, and 
the present picture is an exceptionally good representation of 
his vigorous and life-like treatment of these animals. The lazy 
attitude of the group on the right — some resting their heads on 
their companions' backs, and others playfully butting one 
another, while all seem desirous of experiencing the cooling 
effects of the quiet weedy stream that meanders through their 
pastures — vividly suggests the atmospherical conditions of a 
hot summer's day. A comparison of this picture with Cooper's 
fine Cattle Picture (No. 174), as showing the different way in 
which these artists treat cattle, is interesting. 

184. SHOEING FORGE. CHARLES FRERE. 

Signed and dated 1886. Canvas K,2in.H. y^in.W. 

185. ROBIN ADAIR. ALEX. JOHNSTON. 

Canvas 4^in.H. 36m. H'. 

Exhibited in the Royal Academy in 1864. 

What made th' assembly shine ? 

Robin Adair. 
What made the ball so fine ? 

Robin was there. 
What, when the play was o'er, 
What made my heart so sore ? 
Oh ! it was parting with 

Robin Adair. — Burns. 

186. A DONKEY SURPRISED BY A WOLF. 

A. F. A. SCHENCK. 

Canvas 2c)in.H. j^oin.W . 

A donkey is tethered by its collar to a stunted tree, and a 
wolf has made its appearance through the trees in front of him, 
frightening the donkey so much that he has kicked off his 
pannier and is tugging hard at the rope to get free. On the 
extreme right, the owner of the donkey comes into view, bear- 
ing a bundle of faggots, which he has been gathering, and he 
will no doubt reach his donkey in time to save him from the 
evil intentions of the wolf. 

187. THE EMIGRANTS. DOROTHY TENNANT. 

Signed and dated 1S86. Canvas 45? w. H. T^oin.W. 
This artist married vSir H. M. Stanley, the African Explorer. 

188. CAPRI GIRLS WINNOWING CORN. H. GOODALL. 

Canvas 4sin.H. soin.W. 

189. DEAD STAG. R. ANSDELL, R.A. 

Canvas 2^in.H. 4pn.IV. 



24 



SIR FREDERICK T. MAPPIN'S GIFT— OO^^TINUED. 



192. SEA PIECE. 

Signed and dated 1879. 

193. SHEEP. 

194. RUSH CUTTERS. 



190. THE DARGLE COUNTY. J. A. O'CONNOR. 

Signed and dated 1829. Canvas 2gin. H. 38m. 1^. 

191. DRESSING FOR THE MASQUERADE. 

EUGENE DE BLAAS. 

Canvas 30m. H. 4^in.W. 
EDWIN HAYES, R.H.A. 

Canvas T,oin.H. ^oin.W. 

PEYROL BONHEUR. 

Canvas 26in.H. ^oin.W. 

ALICE HAVERS. 

Canvas ^oin.H. $2{n.W. 
Alice Havers afterwards became Mrs. Fred. Morgan. 

195. " FOR BETTER FOR WORSE —ROB ROYANDTHE BAILIE. 

J. WATSON NICOL. 

Signed and dated 1886. Canvas -^lin.H. ^2in.W. 

Exhibited in the Royal Academy in 1886. 

This is the Scene at the Clachan of Aberfoyle where Bailie 
Nicol Jarvie met Rob Roy to receive from him payment of a 
debt. 

196. NAMUR, BELGIUM. JAMES WEBB. 

Signed and dated 1876-7-8. Canvas ■^lin. H. $iin.W. 

The view is taken from the River Meuse, nearly opposite to 
the Fortifications of Namur. 

197. THE OLD OLD STORY. 



F. ANDREOTTI. 

Canvas 86in. H. $gin.W. 

ROSE MAGNUS. 
Canvas 2iin.H. ^lin.W. 
EMILE C. LAMBINET. 

Canvas isin.H. 2yin.W. 

C. JACQUE. 

Canvas igin.H. 2Hin..W. 

201. MOUNTAIN PASS NEAR SUBIACO, ROMAN STATES. 

W. HAVELL. 

Canvas 2$in.H. T^oin.W. 

202. SHIPS AT SEA. H. KOEKKOEK. 

Signed atid dated 1858. Canvas i8in.H. 2j^in.\\'. 



198. FLOWERS AND FRUIT. 

Signed and. dated 1886. 

199. LANDSCAPE. 

Signed and dated 1876. 

200. THE FLOCK. 



SIR FREDERICK T. MAPPIN'S GIFT— CONTINUED. 



25 



203. MORNING OF THE BATTLE OF WATERLOO. 

E. CROFTS, R.A. 

Signed and dated 1876. Canvas 42tn.H. ypn.W. 
lu the foreground of the picture are the French headquartens, 
where Napoleon is seated examining a chart and interrogating 
a peasant. Round about him are the officers of his staff with 
the stand of colours, and numerous soldiers in various posi- 
tions, weary and mud-hespattered after their march from 
Ouarte Bras on the previous day in rainy weather. In the 
distance are seen the fires and lines of the English Army. The 
battle was fought on Jime i8th, 181 5. 

204. VIEW OF THE THAMES, LOOKING TOWARDS ST. PAUL'S. 

HENRY DAWSON. 

Signed and dated 1852. Canvas ^oin.H. y^in.W. 
The view is taken near to the site of Charing Cross, where 
the river takes a decided bend, so that though the river appears 
to be running between the buildings on the left and right of the 
picture they are really both on the same side of it. On the 
right is Hungerford Pier, the site of the present Charmg Cross 
Station and Footbridge, and on the left of the picture is the 
Adelphi Pier, though both these piers are on the same side of 
the river. Across the river the Shot Tower stands out con- 
spicuously. The bridge in the middle distance is Waterloo 
Bridge, and the one beyond it Blackfriars Bridge, with the 
high dome of St. Paul's in the distance. The time is early 
morning, and the sky is brilliantly illuminated by rays of the 
rising sun reflected and coloured b}-- the clouds. The picture 
represents the river before the construction of the Thames 
embankment. 

205. THE WRECK. E. DUNCAN. 

Signed and dated 1S49. Canvas 1 5/;/. H. 2iin. W. 

206. SEA PIECE. J. WILSON. 

Canvas 28in.H. 2,Sin.W. 

207. HARVEST TIME. J. C. ADAMS. 

Signed and dated 1879. Canvas ^oin.H. y^in.W. 

208. THE VALE OF TEMPE. F. DANBY, R.A. 

Canvas 69/w. H. oginJV. 
This is a beautiful and romantic valley in the north of 
Thessaly, between mounts Olympus and Ossa, through which 
the River Pencus winds on its course to the sea. The" valley is 
rather less than five miles in length, and opens gradually to 
the east into a spacious plain. Its lovely scenery was fre- 
quently described by ancient poets, and it is also celebrated as 
, one of the favourite haunts of Apollo. The picture represents 
in the foreground a Festival, with Music and Dancing, in 
classical stvle. 



26 SIR FREDERICK T. MAPPIN'S GIFT— CONTINUED. 



209. LANDSCAPE, WITH CATTLE. T. CRESWICK, R.A. 

T. S. COOPER, R.A., AND W. P. FRITH, R.A. 

Canvas ^oin.H. y^in.W. 

The Landscape is painted by Creswick, and the Cattle by 
Cooper ; Frith having introduced the Figures. The picture is 
signed by Creswick and Cooper. 

210. MARKET CART CROSSING A RIVER. F. R. LEE, R.A. 

Signed and dated 185 1 . Canvas 46111. H. 62m, IV. 

211. VIEW ABOVE CAPUA, S. ITALY. W. L. LEITCH. 

Canvas 2gin.H. 4^in.W. 

E. NICOL, A.R.A. 

Canvas i^in.H. 2oin.W. 

T. FAED, R.A. 

Panel 2iin.H. 2$in.W. 

ED. ANDRE. 

Canvas igin.H. i-^in.W. 

L. HAGHE. 

Canvas -^yin.H. 2Sin.W. 

T. H. KOEKKOEK. 

Canvas 2^in. H. ^lin.W. 

PH. SADEE. 

Canvas 2oin.H. 2,oin.W. 

AUGUSTE BONHEUR.f 

Canvas 4iin. H. ^yin.W. 

C. N. KENNEDY. 

Canvas $iin.H. ^jin.W. 
Exhibited in Grosvenor Gallery in 1889. 

220. SOLOMON EAGLE. P. F. POOLE, R.A. 

.Signed and dated 1S43. Canvas 6iin. H. Sqin. W. 

The very realistic incidents of the Great Plague of London 
in 1665, shown in the picture, are described in De Foe's 
" Memoirs of the Plague," where he speaks of Solomon Eagle 
as " an Enthusiast, who, though not infected at all, but in his 
head, went about denouncing of Judgment upon the City in a 
frightful manner, .sometimes quite naked, and with a pan of 
burning charcoal on his head." 



212. COLLECTING HIS THOUGHTS. 

Signed and dated 1865. 

213. A GAME AT DRAUGHTS. 

214. THE INTRODUCTION. 

Signed and dated i8y2. 

215. INTERIOR OF A CHURCH. 

Signed and dated 1882. 

216. SEA PIECE. 

217. THE END OF THE DAY. 

218. CATTLE IN AUVERGNE. 

219. REST. 



SIR FREDERICK T. MAPPIN'S GIKT— CONTINUE !). 



27 



221. BOY UNLOADING VENETIAN MARKET BOAT. 

HILDA MONTALBA. 

Signed and dated 1880. Canvas 4gin. H . T^-^in.W . 

222. CATTLE RAID. R. BEAVIS. 

Signed and dated 1870. Canvas ^lin. H. 4sin.W. 

223. JUDGE JEFFREYS BULLYING RICHARD BAXTER. 

E. M. WARD, R.A. 

Canvas iSin.H. 22m. TF. 
" Towards the end of his busy, toil-worn life, occurred that 
well-known scene at Guildhall, when Baxter, then an old man, 
appeared before the notorious Chief Justice Jeffreys, accused of 
advocating sedition in his writmgs. It was in a commentary 
on the New Testament that the obnoxious words occurred. The 
scene was a remarkable one. Never had that imrighteous 
judge been more violent than when he tried Baxter. He did 
not scruple to term the great Puritan an old rogue, an old 
schismatical knave, an hypocritical villain ; and when the 
counsel for the defence alluded to Baxter's noble record, and 
how King Charles was willing to have conferred a Bishopric 
upon him, if he would have consented to conform, ' Aye,' said 
the judge, ' we know that, but w^hat ailed the old blockhead, 
the unthankful villain, that he would not conform ? Is he wiser 
or better than other men ? He hath been ever since the spring 
of the faction. I am sure he hath poisoned the world with his 
doctrine — a conceited, stubborn, fanatical dog ! ' As might 
have been expected in such a court, Baxter was condemned 
to a great fine and imprisonment, from which, however, after 
two years, he was released, and his fme remitted." — The 
Church of England, by Dr. Spence, Dean of Gloucester. 

224. A CAPRI GIRL. P. F. POOLE, R.A. 

Initialed and dated 1865. Canvas igin.H. i^in.W, 

225. GLEANERS. FRED. MORGAN. 

Signed and dated 1880. Canvas 44in.H. ^oin.W. 

226. THE MODEL'S LUNCHEON. E. F. BREWTNALL. 

Canvas 2iin. H. 3i?'/z.T'F'. 

227. FOREST SCENE. C. JACQUE. 

Canvas zSin.H. 4oin.W. 

228. LANDSCAPE. G. COLE. 

Signed and dated 1873. Canvas iGin.H. 22,in.W. 

229. THE CRAB CATCHER. J. HENTZELL. 

Canvas i^iji.H. i-jin.W. 

230. PORTRAIT OF A LADY (Mrs. POTTER). 

G. A. STOREY, A.R.A. 

Canvas $2in.H. ^lin.W. 
A sketch of this Portrait is in Sketches from Memory," by 
G. A. Storey, p. 362, 



28 



SIR FREDERICK T. MAPPIN'S GIFT— CONTIXUED. 



231. RUBENS AND HIS WIFE. 

COPIED BY J. VON WOHLGARTEN. 

Canvas 53zh.//. 42in.W. 
This is a copj^ of the famous picture by Rubens in the 
Pinakothek at Munich. It represents the artist with his wife 
(Isabel Brandt) in the bloom of youth, sitting under the shade 
of a green arbour, with jasmine and honeysuckle peeping 
through the foliage. The original was painted about 1610, 
when Rubens was a fine manly looking fellow of three and 
thirty. 

232. REMBRANDT. COPIED BY J. GUTTMANN. 

Canvas ^lin.H. 24in.W. 
From the original picture by Rembrandt, at Vienna. 

233. REMBRANDT S MOTHER. COPIED BY J. GUTTMANN. 

Panel 2gin.H. 22in.W. 

From the original picture by Rembrandt, at Vienna. 

234. A BIT OF GOSSIP. J. L. WILLIAMS. 

Initialed and dated 1873. Water Colour iiin.H. ipn.W. 
Exhibited in the Royal Academy in 1873. 

End of Sir Frederick T. Mappings Gift (Nos. 155 to 234). 



235. JOHN NEWTON MAPPIN. T. J. BARKER, 1877. 

Canvas ^6in.H. ^Siri.W. 

Presented by his Nephew, J. Y. Cowlishaw, Esq. 

236. CARNARVON CASTLE. 

Canvas on Panel 221)1. H. T,oin.W. 
Presented by Rey. J. G. Chester. 

237. THE RECONCILIATION OF SIR JOSHUA REYNOLDS AND 

GAINSBOROUGH. C. H. LUCY. 

Signed and dated 1862. Canvas e^2in.H. jjin.W. 
Exhibited in' the Royal Academy in 1863. 

Presented by G. S. Taylor, Esq. 

For some years before Gainsborough's death these two great 
painters were estranged, Gainsborough haying been deeply 
offeiuk'd by Reynolds toasting him, at an Academy dinner, as 
the first landscape painter of the day, and thus entirely ignor- 
ing his great position as a portrait painter, in which branch of 
art some rivalry existed between the two. But in 17S8, when 
Gainsborough felt that he was dying, he sent for Sir Joshua 
Reynolds, and a reconciliation took place between them. 



20 



" Reynolds bends his dull ear to catch Gamsborough's fail- 
ing words, and grasps his hand in friendship — the one all 
benevolence and tenderness, the other all forgiveness. 

Gainsborough says : — ' His regret at losing life is chiefly his 
regret at leaving his art.' And his last words were : — ' We 
are all going to heaven and Vandyke is of the company.' " See 
Fulchcr's Life of Gainshorough. 

238. BIRDS, FROM NATURE. E. LADELL. 

Canvas iSin.H. 28in.W. 

Presented by Wm. Turner, Ksq. [Museum K. 1 1-5-75 — i.] 

239. HERACLITUS. 

Canvas ^4in.H. zgin.W. 
Presented by Miss H. M. Deakin. [Museum K. 22-7-80. — ia.] 
Heraclitus, a philosopher of Bphesus, who flourished about 
B.C. 513, travelled extensively in his youth, but afterwards he 
became a complete recluse, and retreated to the mountains, 
where he lived the life of a hermit. He published a work on 
Nature, which contained his philosophical views. In the 
picture he is represented as weeping over the sorrows of the 
world. 

240. LANDSCAPE WITH CATTLE. 

Canvas i/^in.H. i2in.W. 
Presented by Miss H. M. Deakin. [Museum K. 22-7-80 — 5A.] 

241. DUTCH LANDSCAPE, WITH FIGURES. 

Canvas i/\.in.H. i2in.W. 

Presented by Miss H. M. Deakin. [Museum K. 22-7-80 — 12 a.] 

242. GRACE BEFORE MEAT. A. H. BURR. 

Signed and dated 1871. Canvas 2,oin.H. 24.in.W. 

Presented by Robert W. Moore, Esq. [Museum K. 83-4.] 

243. THE BRIGAND'S CAVF. MICHELE CAMMARANO. 

Canvas iG^in.H. 12 ^in.W. 

Presented in Memory of Samuel Hanson, Esq. [Museum K. 84-37.] 
The scene represents a Brigand's Cave which has been 
entered by the Italian Military Police, but not before the 
robbers have made their escape, and only some women and a 
boy remain. The women have had their hands bound by the 
soldiers, and the boy is being interrogated by an officer with 
the evident intention of eliciting from him information as to the 
whereabouts of the robbers. The trap-door in the floor, 
partly hidden by an overturned chair and some rubbish, 
appears to indicate the way the robbers have escaped. 

244. GIPSIES IN A SPANISH CHATEAU. F. MEORMANS. 

Signed and dated 1878. Canvas 37m. H. 2gin.W., 

Bequeathed by Thomas Heiffor, Esq. [Museum K. 86-28.] 



30 



245. ABRAHAM ON HIS WAY TO THE SACRIFICE OF ISAAC. 

A. VICKERS. 

Canvas iSin.H. 2^in.W. 

Bequeathed by Thomas Heiffor, Esq. [Museum K. 86-30.] 

A small copy of the original picture (No. 31) iu the National 
Gallery by Gaspar Dughet, called Gaspard Poussin. 

246. LA SOURIS (THE MOUSE). M. DE GARAY. 

Canvas i$in.H. i gin. W. 

Bequeathed by Thomas Heiffor, Esq. [Museum K, 86-29,] 

Two French ladies are greatly alarmed by a mouse running 
across the floor. 

247. TOILET AVANT LA PROMENADE. M. DE GARAY. 

Canvas iiin.H. i^in.W. 

Bequeathed by Thomas Heiffor, Esq. [Museum K. 86-31.] 

A French lady has just completed her toilet prior to going 
out for a walk. 

248. DUTCH COURTSHIP. H. J. BURGENS. 

Panel gin.H. iT^in.W. 
Bequeathed by Thomas Heiffor, Esq. [Museum K. 86-32.] 

249. PYLADES AND ORESTES BROUGHT AS VICTIMS BEFORE 

IPHIGENIA. B. WEST, P.R.A. 

Canvas 4oin.H. soin.W. 

Eent by the National Gallery. 

Iphigenia entrusted with the care of the temple of Diana at 
Taurica, was obliged, by the command of Diana, to sacrifice 
all strangers who came into that country. When Orestes and 
Pylades came to Taurica and were brought before Iphigenia, 
she discovered that one of them was her brother. She then 
conspired with the two friends, who were also cousins, to fly 
from the barbarous country and carry away the statue of Diana. 
This enterprise was successfully accomplished. 

249a. THE LAST SUPPER. B. WEST, P.R.A. 

Canvas yzin.H. io8m.H^. 

Lent by the National Gallery. 

Painted for George III. in 1784, and presented to the 
National Gallery in 1828 by George IV. 



31 



249b. PORTRAIT OF A LADY AS HEBE. B. WEST, P.R.A. 

Canvas $0111. H. ^ghin.W. 

Lent by the National Gallery. 

Lady holding a cup resting on a table where an eagle has 
planted one foot, while the other clasps the cup as it drinks, its 
wmg spread out over the lady's shoulder. 

250. CHRIST APPEARING TO MARY MAGDALEN, AFTER HIS 

RESURRECTION. W. ETTY, R.A. 

Millboard i^^in.H. 2^^in.W. 
Lent by the National Gallery. 

251. THE PHILOSOPHER. HENRY WYATT. 

Canvas ^oin.H. 24in.W. 
Lent by the National Gallery. 

252. SHOWERY WEATHER, SUNRISE ON THE SEA COAST. 

F. R. LEE, R.A. 

Canvas ^4in.H. 43?m, W. 
Lent by the National Gallery. 

253. AMORET, AEMYLIA AND PRINCE ARTHUR IN THE 

COTTAGE OF SCLAUNDER— (Slander). 

F. R. PICKERSGILL, R.A. 

Canvas 23m H. ^4^in.W. 

Lent by the National Gallery. 

" Then all that evening, welcomed with cold 

And chearlesse hunger, they together spent ; 

Yet found no fault, but that the hag did scold 
And rayle on them with grudgefuU discontent 
For lodging there without her owne consent. 

Yet they endured all with patience milde, 
And unto reste themselves all oneley lent, 

Regardlesse of that queane so base and wilde. 

To be im justly blamed and bitterly revilde." 

— Spenser, Faerie Queene, viii., 28. 

254.. THE PARTING OF HERO AND LEANDER. 

J. M. W. TURNER, R.A. 

Canvas $j^in.H. gpn.W. 

Lent by the National Gallery, 

A vast palace rises on the rocks to the left of the picture, 
with a terrace and steps leading to the sea. On the terrace are 
two figures, one holding torches to Hero and Leander who are 
parting on the margin of the Hellespont. On the right are 



82 



nymphs and cupids divSporting themselves in the spray of the 
breaking waves, near to the rocks. Beyond the turbulent blue 
waters, a red glow from the rising sun, the half moon seen 
above in a break of the storm clouded sky, the lunar halo 
denoting the coming storm. 

Leander, deeply in love with Hero, a priestess of Venus at 
Sestos, used to swim to her across the Hellespont from Abydos, 
and was drowned one tempestuous night. 

" The morning came too soon, with crimsoned blush 
Chiding the tardy night and Cynthia's warning beam ; 
But love yet lingers on the terraced vSteep, 
Upheld young Hymen's torch and failing lamp. 
The token of departure never to return — 
Wild dash'd the Hellespont its straited surge. 
And on the raised spray appeared L,eander's fate." 

254a. WHALERS ENTANGLED IN ICE.— BOILING BLUBBER. 

J. M. W. TURNER, R.A. 

Canvas 35^m.if. 4yin.W, 

Lent by the National Gallery. 

255. A VIEW OF PAUL'S WHARF, THAMES. J. A. SLEAP. 

Water Colour, circular, i$in. diam. 
Lent by the National Gallery. 

256. JOHN FOX, OF DORE, B. 1772, D. 1879. 

SIR F. CHANTREY, R.A. 

Canvas 24111. H. 2iin.W. 
Presented by Mrs. Sarah Sellars. [Museum K. 87-4.] 

257. EBENEZER RHODES (Author of " PEAK SCENERY ") 

SIR F. CHANTREY, R.A. 

Canvas 24171. H. 2iin.W. 
Presented by W. Mitchell Eadon, Esq. [Museum K. 87-2.] 

258. RICHMOND, YORKSHIRE. E. STIRLING HOWARD. 

Signed and dated 1865. Water Colour 1 1 Un. H. igin. W. 
Presented by Mrs. Wall. 

259. PONTEFRACT CHURCH IN 1810. 

DR. ROWLAND HIBBARD, M.A. 

Water Colour z,\iu . H . Sin.W. 
Presented by John Ilibbard, Ksn. 



38 



260. WORTLEY HALL. DR. ROWLAND HIBBARD, M.A. 

Water Colour sk^ii-H. Sin.W. 

Presented by John Hibbard, E)sq. 

261. MARKET VIEW IN ALGIERS. L. TESSON. 

Signed and dated 1865, Water Colour 20^in.H. i^i;tn.W. 
Presented by R. W. Moore, Esq. [Museum K. 83-6.] 

262. OFF CAPE CLEAR, Co. CORK. JOHN FAULKNER. 

Water Colour i8in.H. ^oin.W. 
Bequeathed by Thomas Heiffor, Esq. [Museum K, 86-33.] 

264. TO THE DEATH. 

Artist's Proof iS^in.H. 2syn.W. 

Engraved by Arthur Turrell from the original picture by 
John Pettie in the Mappin Art Gallery, and published by 
Arthur lyucas, London, March, 1891. (See 58.) 

265. UNDINE. W. CALDER MARSHALL, R.A. 

Original Plaster Model. 

Presented by the Sculptor. 

266. THE PRODIGAL SON. W. C. MARSHALL, R.A. 

Original Plaster Model. 

Presented by the Sculptor. 

267. RT. HON. A. J. MUNDELLA, M.P. 

SIR J. EDGAR BOEHM, R.A. 

Plaster Bust. 

268. SAMUEL ROBERTS, OF SHEFFIELD. THEO. SMITH. 

Marbh Bust. 

269. CUPID STUNG BY A BEE. R. GLASSBY. 

Marble. 

270. VULCAN. M. RAGGL 

Plaster, 

Presented by M. Raggi. 

This is the original Model for the Bronze Figure on the 
Sheffield Touti Hall. 

271. SPRING-TIME, ITALY. E, DUBUFE. 

Canvas 4^in.H. s^in.W. 

Signed and dated 1872. 
Presented by the Rt. Hon. A. J. Mundella, M.P. 



34 



272. THE CRUCIFIXION. H. C. SELOUS. 

Canvas g6in. H. i66in. W. 
Presented by his daughters, Miss Jane P. Selous, and 
Miss Emily E. Selous. 

The artist has presented his subject as a whole, embracing the 
accessories to the greatest incident in the history of Christian- 
ity. A long ray of bright light streams from a rifted cloud, 
behind which the sun stands yet high, it being a little past the 
ninth hour of the day, and falls upon Jesus, who since the third 
hour had hung upon the Cross. The dense clouds, which 
brought " a darkness over the land " at the sixth hour, now 
creep off the sky. At a short distance from the Cross is a 
group of women, who bend before it, and to the left of these are 
some of the restless population of the city, who fling stones and 
quarrel amongst themselves. Nearer to the front is a dense 
crowd of the people driven back by threats and blows from the 
Roman soldiery. The great sweep of the architectural back- 
ground has an axis at the Cross, the walls recede behind it to 
the gate of the corner, and advance again to mc>^t the Gate of 
Judgment, proceeding onwards to the angle of the fortifica- 
tions, near which the labourers are at work upon the walls, 
building and repairing. 

Extending along the front of the picture is a line of a hundred 
or more figures expressing divers incidents. Right in the 
centre, clothed in golden armour, and riding upon a white 
horse, is Herod Antipas, Governor of Judaea, ordering the 
crowd to be dispersed. Close to him, and towards the right 
hand, is the mounted Centurion, whose servant Jesus restored 
to life. He is commanding gentle treatment for the swooning 
mother of Christ, introduced near the front, attended by St. 
John, Mary Magdalene, Martha, and other friends. In the 
foregroimd is seen, kneeling and wringing her hands, the woman 
whom Christ pardoned with the words, '* Go, and sin no more!" 
She wears a dress of yellow and purple. In front of the.se 
kneels a Nubian woman, offering water from a jar to revive 
Virgin Mary, Near this group is Joseph of Arimathea, offer- 
ing to a horseman money to redeem the body of the Saviour for 
burial in his own new tomb. In front of him is a group com- 
posed of those who have taken part in the Crucifixion it.self ; 
the soldiers, executioners, lictors, and others of that class. 
The first are wrangling for the garment without a seam ; one 
holds out the dice jecringly to another, who complains of the 
lot going against him, and is about to strike his taunting com- 
panion with his fist. Near the.se are the executioner and his 
assistants who bear the instruments of torture and death. 
One carries a ladder, nails m a basket, and a hammer ; the 
ropes are cast about bi'^ shoulders, and there is blood upon his 
shirt. Close to this grouj), still further to tlu- right, are two of 



35 



the false witnesses, kneeling, with writing materials in their 
hands, as if taking notes of what goes on, A wondering crowd 
is gathered about Veronica, as she displays the handkerchief 
which Christ gave to her after passing it over Plis own features, 
when she demanded of Him some token of remembrance. Fill- 
ing up the remainder of the canvas to the right is a gathering of 
Christ's followers, apostles, disciples, &c. Behind the first line 
of figures on this right hand side of the picture is the Centurion 
who was converted to Christianity when he "saw the earth- 
quake and those things that were done," his comrades of the 
legion roimd about him mocking and deriding him. Going now 
to the left of the picture from Herod on the white horse, there 
are two priests disputing about the application of the Law to 
the case of Jesus, and further on, a false prophet, wild and 
imperfectly clad, haranguing the mob. Near to him are a 
Hebrew and an Egyptian merchant, both seated upon their 
camels, eagerly chaffering upon a matter of trade. In front 
of these a bo}^ has taken a doll from a little girl, and therewith 
mimics the terrible scene that has just passed before his eyes, 
having crucified the toy. In the next group, extending to the 
extreme left, the artist has typified the parables of our Saviour, 
the figures representing " L,azarus and Dives," " The Prodigal 
Son," "The Widow who bestowed her mite," " The Labourer 
in the Vineyard," and a personation of " the turning water 
into wine " at Cana in Galilee. This completes the mass of 
figures filling the foreground of the picture. Behind are the 
buildings of Jerusalem. Of these the Gate of Benjamin betv/een 
two towers is on the left ; next to it a little lower down is the 
dome-shaped roof of Alexander's monument. The tall arcade 
is Herod's Amphitheatre, capable of holding 80,000 persons. 
The long lines of buildings with parallel walls that stretch near- 
\j from the Amphitheatre to where a gateway spans the street 
— (the gatev/ay being the arch now styled that of Ecce Homo, 
where Pilate is said to have presented the scourged Saviour to 
the people, and the street, the Via Dolorosa, or Road of Suffer- 
ing, traversed by Christ, between the Castle of Antonio and 
Calvary) is the Chariot and Horse race-course — the Hippo- 
drome. A little more to the right in the distant wall of the 
city, is the Gate of St. Stephen, or Sheep Gate, where the first 
martyr underwent his sentence. The tall mass of solid stone 
walls, seen above the Arch of Ecce Homo, is the Tower of 
Antonio. The Hill that stretches behind all this, is the Mount 
of Olives — on its lower portion is the Garden of Gethsemane, 
rear St. Stephen's Gate. Perched upon the levelled summit of 
Mount IMoriah, and encircled by its cloisters, is the Temple 
with all its splendid towers and chambers, much as Herod the 
Great built it. Lower down is the grand entrance to the 
Temple, and the bridge below it — also the work of Herod — 
connecting Mount INIoriah with ^Mount Zion, by crossing the 
ravine, or cleft, between them. Near this is the High Gate, or 



36 



Miph-Kad, where Jeremiah was tortured. Close to the en- 
trance of the Temple is the Armoury of David. The tower 
that rises up against the distant landscape, and looks do^vn the 
valley, is the Tower of Ophel, built originally by Manasseh, or 
by Jotham. Right up this valley, a pale gleam of light falls 
upon the water of the Dead Sea, which, in very clear weather, 
although (as the crow flies) about twenty -five miles off, may be 
discerned through that pure atmosphere, from the high places 
of Jerusalem. Beyond it are the Mountains of ]\Ioab, grey in 
the distance. More to the right still, and lower down, is a 
tower, denominated by Herod the Great, its builder, the Tower 
of Mariamne, after his unhappy wife. Then appear the Towers 
of Hippicus and of Phasaelus. The last, that nearest to 
Mariamne's Tower, named after Herod's brother, the former 
after his dear friend who Avas slain in war. The height of the 
Tower of Phasaelus was one hundred and twenty feet. It was 
the tallest building in all Jerusalem, and, like its companion 
towers, was formed of enormous stones, so skillfully joined 
together that their junctures could not be seen. The gate 
below the Tower of Mariamne is the Corner Gate, which was 
one of the boundaries set by the Lord for the extent of Jeru- 
salem within which there shoiild be "no more utter destruc- 
tion." Before the Avail, and below the Tower of Phasaelus, is 
the Pool of Hezekiah. Almost against the margin of the 
picture is the Tomb of David. Above all this mass of buildings 
rises the Hill of Evil Counsel ; so called because here is said to 
have stood the country house of Caiaphas, the High Priest, 
wherein, tradition reports, the bargain with Judas for our 
Saviour's betrayal was completed. 

273. EDWARD LAW. FRANK STONE, A.R.A. 

Caiwas 24717. H. 2oin.W. 

Presented by Joseph Lrw, Esq., M.D, 

This portrait was painted by Frank Stone while on a brief 
visit to Kdward Law, Sculptor, in vShcffield, who at the same 
time modelled a bust of Mr. Stone. 

274. THE FLAG OF TRUCE. 

Artist's Proof ^oUn.H. 24in.IV. 

Engraved by Arthur Turrell, from the original picture by 
John Pettie, R.A., in the Mappin Art Gallery, and published by 
Arthur Lucas, London. (See 145.) 

275. PLAYMATES. ST. GEORGE HARE. 

Pastel 35m. i/. 4<)in.W. 
Presented by the Proprietors of the " Sheffield Weekly 
Telegraph." 



37 



276. ARIEL. W. CALDER MARSHALL, R.A. 

Plaster Figure. 

Presented by H. Calder Marshall. 



277. CONCEALMENT OF THE FUGITIVES BY ALICE LISLE, 

AFTER THE BATTLE OF SEDGEMOOR IN THE REIGN 
OF JAMES II. Original design for the fresco in the Houses 
of ParUament. E. M. WARD, R.A. 

Canvas So^in.H. Sgin.W. 

Exhibited in the Royal Academy in 1858. 

Presented by Sir Frederick T. Mappin, Bart., M.P. 

" John Hickes, a non-conformist divine, and Richard Nel- 
thorpe, a lawyer, who had been outlawed for his share in the 
Rye House Plot, had sought refuge at the house of Alice, 
widow of John Lisle The same womanly kind- 
ness which had led her to befriend the Royalists in their time 
of trouble, would not suffer her to refuse a meal and a hiding 
place to the wretched men who now entreated her to protect 
them. She took them into her house, set meat and drink 
before them, and showed them where they might take rest. 
The next morning her dwelling was surrounded by soldiers. 
Strict search was made. Hickes was found concealed in the 
malt-house, and Nelthorpe in the chimney." — Vide Lord 
Macaulay's History of England." 

278. THE PROCESSION TO CALVARY— CHRIST FALLING UNDER 

THE WEIGHT OF THE CROSS. G. PAPPERITZ. 

Signed and dated 1885. Canvas g4in.H. i6pn.W. 
Presented by Sir Frederick T. Mappin, Bart., M.P. 



279. TO VERSAILLES ! AN INCIDENT IN THE FRENCH 

REVOLUTION, 1789. VAL. C. PRINCEP, R.A. 

Canvas g6in.H. i4$in.W. 

Exhibited in the Royal Academy in 1894. 

Presented by Sir Frederick T. Mappin, Bart., M.P. 

An incident of the earlier days of the French Revolution, 
when the women armed themselves with various implements, 
and set out from Paris to Versailles where the National Assem- 
bly and Court were held. The mounted gun and arms were 
taken from the Hotel de Ville. Carlyle thus describes the 
scene in his " History of the French Revolution " : — " To 



38 



Versailles ! All women gather and go. Robust dames of the 
Halle, slim mantua-makers, assiduous, risen with the dawn ; 
ancient virginity tripping to matins ; the housemaid with 
early broom ; ail must go. No carriage lady, were it with 
never such hysterics, but must dismount in the mud roads^ 
in her silk shoes, and walk." 

280. LILITH LEAVING THE GARDEN OF EDEN. 

W. CALDER MARSHALL, R.A. 

Plaster Figure. 

Exhibited in the Royal Academy in 1889. 

Presented by H. Calder Marshall. 

" Lilith, Adam's first wife, jealous of Eve, by aid of the ser- 
pent tempts her, then leaves the Garden with the serpent. 
She afterwards becomes the mother of the demons." — Legend 
of the Rabbins. 

281. RETURNED FROM THE WARS. W. C. SYMONS. 

Canvas y2in.H. S4in.W. 

Presented by John Eadon, Esq. 

The scene is in the Barrack room of the ist Life Guards at 
Chelsea, where the men are preparing to celebrate Christmas. 
Some are putting up decorations, amongst which the word 
" Waterloo " is prominent. The group in the foreground con- 
sists of a returned woimded trooper, who, with his arm in a 
sling, is describing a hand-to-hand fight in w^hich he received 
his wound, making with his pipe the " head guard." Other 
troopers are listening, one of whom has just come in from duty 
in Queen's Guard uniform. It is a little bit of real barrack 
life, as witnessed by the artist. The men are all portraits. 
Some of them fought at Tel-el-Kebir, which is also noted in 
the decorations. 

282. THE FARNESE BULL. 

Reproduction in Bronze. 

The original in the Naples Museum is hewn out of a single 
block of marble, and was discovered in 1547 in the Baths^;of 
Caracalla at Rome, and set up in the Palazzo Farnese, being 
removed to Naples in 1786. It is supposed to be the workj^of 
the brothers Apollonius and Tauriscus, of the Rhodian School, 
which flourished in the third Century, B.C. 

It represents the two sons of Antiope, Amphion and Zethus, 
avenging the wrongs of their mother by binding Dirce, who 
had treated her with the greatest cruelty for many years, to the 
horns of a wild bull. Antiope in the background exhorts them 
to forgiveness. 

Presented by Philip H. Ashberry, Esq. 



283. MOORLAND CATTLE, HIGGAR TOR, FOX HOUSE, NEAR 

SHEFFIELD. W. H. PIGOTT. 

Signed. Water Colottr 2oin. H. 38/n. IK. 

284. PITY ! OH THE PITY. W. OLIVER. 

Signed 1883. Canvas 24in. H. iSin.W. 
Bequeathed by Thomas Waterhouse, Ksq. 

285. AT THE WELL. W. OLIVER. 

Signed 188$. Canvas 26in.H. iglin.W. 

Bequeathed hy Thomas Waterhouse, Esq. 

286. A SPANISH LADY. W. OLIVER. 

Portrait of the artist's wife. 

Initialed and dated 1880. Canvas $6in.H. 24lin.W. 
Bequeathed by Thomas Waterhouse, Esq. 

287. RED RIDING HOOD. W. OLIVER. 

Signed 1866. Canvas ^^in.H. 2y-^in.W. 

Bequeathed by Thomas Waterhouse, Esq. 

288. CALAIS OLD PIER. J. J. WILSON. 

Signed 1850. Canvas 24in. H. 4^lin.lV. 

Bequeathed by Thomas Waterhouse, Esq. 



The Etchings and Engravings numbered 289 to 321 
have been presented by C. D. Pettinger, Esq., in 
commemoration of the Coronation of King Edward VII. 

289. STIRLING CASTLE. 

Original Etching by DAVID LAW. 

iiin.H. i6in.W 

290. THE QUESTION. 

From the Picture by MARCUS STONE, R.A. 

I slin. H. I olin. W. 
Engraved in Mezzotint by Normax Hirst. 

291. LADY SLIGO. 

From the Original Painting by GEORGE ROMNEY. 

J4^in.H. i^lin.W. (Oval). 

Engraved in Mezzotint by Gerald Robinson. 
This is a portrait of Catterina Louisa, first Marchioness of Sligo 



40 



292. A CORNER OF OLD ENGLAND. 

From the Painting by C. E. JOHNSON, R.L 

iSlin.H. 27\in.W. 
Etched by A. BruneT-DebaineS. 

293. THE SWAN INN, PANGBOURNE. 

Original Etching by DAVID LAW. 

Sin.H. i2in.W. 

This subject forms one of the series by David Law of views 
of favourite boating resorts on the Upper Thames. 

294. BRACKLINN BRIDGE. 

Original Etching by DAVID LAW. 

i6in.H. iiin.W. 

A representation of the beauty of the Highlands of Western 
Scotland during the Autumn. 

295. THE HERO'S TARGE, GLENFINLAS. 

Original Etching by DAVID LAW. 

win. H. i6in.W. 

" That huge cliff, whose ample verge, 
Tradition calls the hero's targe." 

296. THE BRIG O'TURK. 

Original Etching by DAVID LAW. 

iiin.H. i6in.\V. 

" When the Brig o'Turk was won 

The headmost horseman road alone." 

297. COILANTOGLE FORD. 

Original Etchmg by DAVID LAW. 

I iin,H. i6in.W. 

298 THOUGHTS 

From the Painting by MARCUS STONE, R.A. 

i^\in. H. loin.W. 

Engraved in Mezzotint by E. Gii,BERT Hester. 
This forms a companion to " The Question," by the same 
artist (No. 290). 



41 



299. THE PARSON'S DAUGHTER. 

From the Original Picture by GEORGE ROMNEY, R.A. 

in the National Gallery. i4ltn.H. i^lm.W. (Oval). 

Engraved in Mezzotint by Gerai^d Robinson 

300. IN THE VALLEY OF DESOLATION. 

From the Painting by CECIL LAWSON. 

i4^in.H. iS^in.W. 

Etched by David I^aw. 

Cecil Lawson painted this picture for Mr. Mason's Gallery 
at Bingley in the Autumn of i88o, and it was first exhibited at 
the Grosvenor Gallery in the following year. It represents a 
scene in the neighbourhood of Wharfedale, Yorkshire. As a 
" remarque " Mr. Law has scratched a head of Cecil Lawson, 
the artist. 

301. THE WINDMILL. 

From the Painting by JOHN LINNELL in the National Gallery. 

i^^in.H. iSin.W. 

Etched by David Law. 

302. HARROW-ON-THE-HILL. 

Original Etching by DAVID LAW. 

ii^in.H. i^in.W. 

Showing the Church, School Buildings, &c. 

303. A PASSING CLOUD. 

From the Painting by MARCUS STONE, R.A. 

iS\in. H. 2gin.W. 
Engraved in Mezzotint by E. Gii^bert Hester. 

The scene is in a garden, a lady and her lover being the 
subject. They have had a tiff. The lady has left her lover 
seated at a table in pensive mood, looking very much as if he 
were suffering from a fit of the sulks, while she, already 
repentant, walks away. 

304. WESTMINSTER ABBEY. 

Etching by MONS. DELAUNEY. 

24\in.H. ig\in.W. 

305. A LITTLE FLIRT. 

From the Painting by J. HAYNES WILLIAMS. 

2oin.H. isiin.W. 

Engraved by E. Gilbert Hester. 

The scene is a ball room, or rather its vestibule, where a 
lively girl in a satin dress sits on a couch and laughingly teases 
her lover, who stands by her side in a diffident attitude 
looking both vexed and piqued. 



42. 



306. THE PASS OF ACHRAY. 

Original Etching by DAVID LAW. 

iiin.H. i6in.W. 
" In the deep Trossachs wildest Nook." 

307. THE FIRST LOVE LETTER. 

From the Painting by MARCUS STONE, R. A. 

Engraved in Mezzotint by B. Gii^BERT HESTER. 

The young girl has got her first love letter, and is reading it 
to a friend of whose sympathy she feels sure and on whose 
experience she can rely. Both are seated at a rustic round 
table under the shade of trees, and beyond them can be seen 
the terraces and walks of the garden. 

308. THE LADY OF THE WOODS. 

From the Painting by JOHN MACWHIRTER, R.A. 

22hn.H. is^in.W. 
Engraved in line by John Saddi^er. 

309. LORD OF THE GLEN. 

From the Painting by JOHN MACWHIRTER, R.A. 

22^in.H. islin.W. 

Engraved in line by E. P. Brandard and Arthur Wiumore. 

The scene of " The I^ady of the Woods," stands near 
Ivoch Katrine, Perthshire, and that of the " Lord of the Glen " 
in the neighbourhood of Loch Maree, Ross-shire. 

310. THISBE. 

From the Painting by EDWIN LONG, R.A. 

ly^in.H. loin.W. 

Engraved in line by Mons. G. Bertinot, Membre de 
rinstitut de France. 

" An envious wall the Babylonian maid. 
From Pyramus, her gentle lover, stayed. 
Yet here a tiny clink none else had seen, 
Sufficed to bear Love's messages between, 
They kissed its stony mouth like lovers true 
But neither side would let the kisses through," 
Ovid Met. 4, 55, seq. 

The type the painter has chosen is that of a high-bom 
Oriental, and his sitter on this occasion was a Castemerian 
Princess, Her Highness the Princess Helen Rhundir Singh of 
Kuppoorthalla. 



43 



311. ALETHE. 

Attendant of the sacred Ibis in the great temple of Isis at Memphis. 

From the Painting by EDWIN LONG, R.A. 

22 in. H. I ^^in.W. 

Engraved by E. Gilbert Hester. 

Alethe, the beautiful young priestess beloved by Alciphron 
and the heroine of Moore's poem of The Epicurean," suffered 
martyrdom at the hands of Orcus, High Priest of Memphis, for 
embracing Christianity, circa. 255 A.D. 

312. A HARROW GIPSY. 

From the Painting by GEORGE ROMNEY, R.A. 

ii'}in.H. glin.lV. 

Engraved in Mezzotint by Miss E. E. Mii^neR. 

The picture was exhibited in the " Old Masters " Exhibition, 
Royal Academy, 1894, and was not engraved before then. The 
picture is unfinished, but Miss Milner has mezzotinted the 
plate with great skill, softness and fidelity, 

313. MRS. WHATMAN. 

From the Painting by GEORGE ROMNEY, R.A. 

ii\in.H. g\in.W. 

Engraved in Mezzotint by Miss E. Gui,];and. 

314. THE ENTRANCE TO THE TROSSACHS. 

Original Etching by DAVID LAW. 

iiin.H. i6in.W. 

*' As when the setting sun has given 
Ten thousand hues to summer even." 



315. A PEACEMAKER. 

From the Painting by MARCUS STONE, R.A. 

i'j\in. H. 2gin.W. 

Engraved by E. Gli,BERT Hester. 

A couple of lovers have quarrelled, and a reconciliation is 
about to be effected by a yoimg sister. The peacemaker 
coaxingly takes the arm of the petulant girl, and is about to 
lead her back to her affianced, who stands a little way off half 
inclined to quit the scene. 

316. HE BEARS HIS BLUSHING HONOURS THICK UPON HIM." 

From the Painting by W. H. TROOD. 

Etched by C. O. Murray. i4fm.H. lofm.T'T. 

An Artist proof upon Japan paper. 



44 



317. MARGARETTE. 

From the Painting by SIR THOMAS LAWRENCE, P.R.A. 

22 |r« . H. 1 7f m . W. 

Engraved in Mezzotint by E. Gii^BERT HESTER. 

318. A WELCOME FOOTSTEP. 

From the Painting by MARCUS STONE, R.A. 

2$m.H. i^Un.W. 

Engraved in Mezzotint by E. GiivBERT HESTER. 
The original of this painting is in the possession of Mr. James 
Murray, M.P., Glenburnie Park, Aberdeen. 

319. BEATRICE. From the Painting by W. E. MILLER. 

iglin.H. i6^in.W. 

Engraved in Mezzotint by Mrs. M. Cormack. 

" Such eyes were in her head 
And such grace and power." 

320. THE LITTLE FORTUNE TELLER. 

From the Painting by SIR JOSHUA REYNOLDS, P.R.A. 

22Un.H. lyin.W. 

Engraved in Mezzotint by R. S. Clouston. 

321. THE PASS OF BEAL-NAM-BOO. 

Original Etching by DAVID LAW. 

iiin.H. i6in.W. 

322. JEPHTHAH'S DAUGHTER : The Last Day of Mourning. 

H. N. O'NEIL, A.R.A. 

Signed and dated 1849. Canvas S4in.H. 72lin.IV. 

Presented by Sir Frederick T. Mappin, Bart. 

" And when the two months had expired she returned to 
her father, and he did to her according as he had vowed." 

— Judges, chap. xi. 

323. ROCHE ABBEY, YORKSHIRE, 1768. 

PAUL SANDBY, R.A. 

Water Colour isin.H. igin.W. 
Bequeathed by W. A. Sandby. 

324. LANDSCAPE, WITH CASTLE AND WATERFALL. 

PAUL SANDBY, R.A. 

Water Colour S^in.H. ii^in.W. 
Bequeathed by W. A. Sandby. 



4S 



325. MIDDLEHAM CASTLE, YORKSHIRE, 1770. 

PAUL SANDBY, R.A. 

Water Colour ii^in.H. id^^in.W. 
Bequeathed by W. A. Sandby. 

326. KING JOHN'S PALACE AT ELTHAM. 

PAUL SANDBY, R.A. 

Water Colour jiyn.H. lylin.W. 
Bequeathed by W. A. Sandby. 

327. LANDSCAPE. PAUL SANDBY, R.A. 

Water Colour ipn.H. 2oin.W. 
Bequeathed by W. A. Sandby. 

328. RIVER SCENE. PAUL SANDBY, R.A. 

Water Colour 1 1 in. H. 15 \in. W. 
Bequeathed by W. A. Sandby. 

329. FORT ROUGE, CALAIS. 

From the Painting by CL ARKS ON STANFIELD, R.A. 

Coloured Engraving i^in.H. loin.W. 
Presented by W. H. Booth. 

330. AN OFFERING TO MARS. 

PIETER BREUGHEL, the younger. 

On Metal 2iin.H. 2gin.W. 
Presented by W. Mercer. 

331. SCENE FROM " THE BRIDE OF LAMMERMOOR. " 

W. P. FRITH, R.A. 

Canvas 1 7 ^^in .H. 13 ^in. W. 
Bequeathed by H. Herbert Andrew. 

' ' Lucy returned the scornful glance of her lover with a gaze, 
from which perception seemed to have been banished ; yet she 
seemed partly to have understood his meaning, for she raised 
her hands as if to undo a blue ribbon which she wore around 
her neck. She was unable to accomplish her purpose, but 
Lady Ashton cut the ribbon asunder, and detached the broken 
piece of gold, which Miss Ashton had till then worn concealed 
in her bosom ; the written counterpart of the lovers' engage- 
ment she for some time Jiad had in her own possession. With 
a haughty courtesy she delivered both to Ravenswood, who 
was much softened when he took the piece of gold." — Scott. 



46 



332. LATHKILL DALE, DERBYSHIRE. YEEND KING. 

Canvas isiin.H, 2ol^in.W. 
Bequeathed by H. Herbert Andrew. 

333. FIRELIGHT REVERIES. FRANCIS C. JONES. 

Canvas 26in.H. 2j^in,W. 
Bequeathed by H. Herbert Andrew. 

334. WINTER SCENE : SHEEP. ERNST MEFFSNER. 

Canvas 26in.H. 4oin.W. 
Bequeathed by H. Herbert Andrew. 

335. THE LETTER. W. OLIVER. 

Canvas ^6in.H. 28in.W. 
Bequeathed by H. Herbert Andrew. 

335. AMERICAN RIVER SCENE. R. W. van BOSKERCK. 

Canvas 2oin.H. 30/;^. IF. 
Bequeathed by H. Herbert Andrew. 

337. WAITING FOR THE KING'S FAVOURITE. 

LASLETT J. POTT. 

Signed and dated 187 y. Canvas 36m. H. 6oin. W. 

Bequeathed by H. Herbert Andrew. 

333. THE CONNOISSEURS. HOWARD KELIvIICK. 

Canvas 2di}uH. 2oin.W. 
Bequeathed by H. Herbert Andrew. 

339. THE LAST GLEAM : VIEW NEAR WORCESTER. 

B. W. LEADER, R.A. 

Signed and dated 1 87 1 . Canvas 4 1 \in. H. 59m. W. 

Bequeathed by H. Herbert Andrew. 

310. THE GIRL AT THE WELL. ANTONIO PAOLETTI 

Panel iSin.H. i2in.W. 
Bequeathed by H. Herbert Andrew. 

311. THE^SINGING LESSON. A. LUDOVICI. 

Canvas 28in.H. 46in.IV. 
Bequeathed by H. Herbert Andrew. 



47 



342. THE TOILET. S. LEWIN. 

Signed and dated 1889. Panel i2\in.H. g^in.W 

Bequeathed by H. Herbert Andrew. 

343. A LADY. W. OLIVER. 

Canvas 13m. i/. g^in.W. 

Bequeathed by H. Herbert Andrew. 

344. THE GIPSY. W. OLIVER. 

Canvas lyin.H. loin.W. 

Bequeathed by H. Herbert Andrew. 

345. LANDSCAPE— SUNSET : NEAR CANTERBURY. 

D. SHERRIN. 

Canvas ig^in.H. ^g^in.W. 

Bequeathed by H. Herbert Andrew. 

346. FORTY WINKS. S. LEWIN. 

Signed and dated 1888. Panel 2^in.H. iSin.W. 

Bequeathed by H. Herbert Andrew. 

347. THE GOSSIPS. HOWARD HELMICK. 

Signed and dated 1S77. Canvas iSin.H. 22in.IV. 

Bequeathed b}'^ H. Plerbert Andrew. 

348. A BREEZY BIORN, GLEN MASS AN, ARGYLESHIRE. 

W. WATSON. 

Signed and dated 1894. Canvas 2^\in.H. SSiz^.I-F. 

Bequeathed by H. Herbert Andrew. 

349. THE DUNMOV/ FLITCH. R. HILLINGFORD. 

Canvas ly-Hn.H. 24111. W. 

Bequeathed by H. Herbert Andrew. 

350. SCENE FROM " THE LAY OF THE LAST MINSTREL." 

R. BEAVIS. 

Signed and dated 1864-70. Canvas jojvz. /f . ^^in.W. 
Bequeathed by 11. Herbert Andrew. 

The Ladye of Branksome gathered a band 
Of the best that ^^'Ould ride at her coniniand. 
The Trysting place was N^.wark Lee " — Scott. 

351. ON THE RIVER SEVERN. B. W. LEADER, R.A. 

Signed and duted 1897. Canvas i2in.H. liii.i.W. 

Bequeathed by H. Herbert Andrew. 



43 



852. A RHODE ISLAND RIVER. R. W. van BOSKERCK. 

Canvas 44^in.H. 6sin.W. 
Bequeathed by H. Herbert Andrew. 

363. PLACE DE LA CONSTITUCION A JEAN, SPAIN. 

F. BOSSUET. 

Signed and dated i88o. Canvas 2>^\in.H. $^\in.W. 

Bequeathed by H. Herbert Andrew. 

354. SPORT. G. JACQUET. 

Panel i2\in.H. Slin.W. 
Bequeathed by H. Herbert Andrew. 

355. MUSIC. G. JACQUET. 

Panel i2\in.H. g\in.W. 

Bequeathed by H. Herbert Andrew. 

356. GOOD NEWS. G. JACQUET. 

Panel ii^in.H. g^in.W. 
Bequeathed by H. Herbert Andrew. 

357. THE QUEEN AND HER MARIES. G. G. KILBURNE. 

Water Colour i2in.H. ie,in.W. 

Bequeathed by H. Herbert Andrew. 

The personal attendants of Mary Queen of Scots were all 
named Mary, hence the title. 

358. COAST SCENE. T. B. HARDY. 

Signed and dated 1879. Water Colour i2in.H. 2oin.W. 
Bequeathed by H. Herbert Andrew. 

359. SIR PETER LELY PAINTING THE PORTRAIT OF MARY OF 

MODENA. G. G. KILBURNE. 

Initialed and dated 1874. Water Colour Shn.H. i^in.W. 
Bequeathed by H. Herbert Andrew. 

360. EDWINSTOWE, NOTTS. FRANK SALTFLEET. 

Signed and dated 1888. Water Colour i^^in.H. 20!.n.W. 
Bequeathed by H. Herbert Andrew. 

361. OFF BOULOGNE. T. B. HARDY. 

Signed and dated 1878. Water Colour \6\in.H. 28/;?. U'. 
Bequeathed by H. Herbert Andrew. 



40 



362. LINCOLN. FRANK SALTFLEET. 

Signed and dated 1888. Water Colour i^in.H. 2iin.W. 
Bequeathed by H. Herbert Andrew. 

363. PEASANT, WITH CATTLE. R. BEAVIS. 

Signed and dated 1864. Water Colour iS^in.H. 24]-fwJr. 
Bequeathed by H. Herbert Andrew. 

364. THE MOUTH OF THE HARBOUR. T. B. HARDY. 

Water Colour gin.H. 22in.W. 
Bequeathed by H. Herbert Andrew. 

365. OFF THE MUMBLES, near SWANSEA. T. B. HARDY. 

Water Colour 28in.H. 41 in . W. 
Bequeathed by H. Herbert Andrew. 

366. NEAR TORQUAY. T. B. HARDY. 

Signed and dated 1895. Water Colour 28in. H. ^lin.W. 
Bequeathed by H. Herbert Andrew. 

367. RIVER AND WINDMILL. Etched by W. H. SHELTON 

from the picture by R. W. van BOSKERCK. 

Etching i2in.H. 2oin.W. 
Bequeathed by H. Herbert Andrew. 

368. THE ALCHYMIST. HOWARD HELMICK. 

Signed and dated 1883. Canvas 2oin.H. 24/77. IF. 
Presented by Mrs. E. G. Wragg. 

369. SIR FREDERICK THORPE MAPPIN, Bart. 

WILLIS EADON. 

Water Colour iT^lin.H. oMn.W, 
Presented by Councillor F. A. Kelley, J. P. 

370. PORTRAIT OF THE ARTIST. 

SIR FRANCIS CHANTREY, R.A. 

Canvas i6Hn.H. i^^in.W, 
Bequeathed by Mrs. Wm. Smith. 

371. THE FORD. T. CRESWICK, R.A. 

Canvas 2iin.H. 2^\in.W. 
Bequeathed by H. C. Brunuing. 



372. SIR FREDERICK THORPE MAPPIN, Bart., M.P. 

W. W. OULESS, R.A. 

Signed and dated 1S92. Canvas $oin.H. 4oin.W. 

" In grateful recognition of the many valuable services 
rendered by him this portrait of Sir Frederick Thorpe Mappin, 
I'art., M.P., vvas presented to his native town of Sheffield by 
his fellow townsmen," 

373. FALLS NEAR PONT-Y-CEFN, NORTH WALES. 

JAMES POOLE. 

Canvas i4in.H. 2ofzn.IF. 
Bequeathed by William La vers. 

374. CLOGWYN MAWR, NEAR CAPEL CURIG. 

JAMES POOLE. 

Canvas 26in.H. ^6in.W. 
Bequeathed by William La vers. 

375. LAGO MAGGIORE. JAMES POOLE. 

Water Colour <,lin.H. g^in.W. 
Bequeathed by William Layers. 

376. VIEW OF BLABBIN MOUNTAIN, FROM SHORE OF LOCH 

SLAPIN, ISLE OF SKYE. JAMES POOLE. 

Signed and dated 1866. Water Colour i^^in. H. 2i^in.W. 
Bequeathed by William Lavers. 

377. THE WOMEN AT THE SEPULCHRE. 

GEORGE JONES, R.A. 

Sepia Drawing. jS^in.H. i4^in.W. 
Presented by Miss J. Keightley. 

378. THE DAY OF JUDGMENT. GEORGE JONES, R.A. 

Initialed " G. J. i86y." Sepia Drawing. ()\in.H. i2in.W. 
Presented by Miss J. Keightley. 

"And there shall be "signs in the sun, and in the moon, and 
in the stars ; and upon the earth distress of nations, with 
perplexit}^ ; the sea and the waves roaring ; 

Men's hearts failing them for fear, and for looking after 
those things which are coming on the earth : for the powers 
of heaven shall be shaken." 21s/ St. Lithe, 25, 26 verses. 



5k 



379. THE PASSAGE OF THE RED SEA. GEORGE JONES, R.A. 

Sepia Drawing gin.H. iiin.W. 
Presented by Miss J. Keightley, 

380. THE PEOPLE LEAVING ROME DURING THE CONFLAGRA- 

TION OF THE CITY IN THE REIGN OF NERO. 

GEORGE JONES, R.A. 

Brown Sepia Draiving gin.H. i2\in.W. 

Presented by Miss J. Keightley. 

381. THE DROWNING OF AGRIPPINA. 

GEORGE JONES, R.A. 

Signed and dated 1837. Sepia Drawing S\in. H. ii^in.W. 
Presented by Miss J. Keightley. 

382. THE PUNISHMENT OF LOKE. GEORGE JONES, R.A. 

Signed. Sepia Drawing i^^^in.H. izin.W. 
Presented by Miss J. Keightley. 
Norse Mythology E^dda 21, Table 224. 

383. THE ENTOMBMENT. GEORGE JONES, R.A. 

Initialed. Sepia Drawing 1 1 ^in. H. g\in. W. 
Presented by Miss J. Keightley. 

384. PERI AT THE GATE OF PARADISE. GODFREY SYKES. 

Canvas zS^in.H. iG^in.W. 

''One morn a Peri at the gate 
Of Kden stood disconsolate." — Moore's " Lalla Rookh." 

Purchased. 

335. PORTRAIT OF MISS BRAMMALL. 

SIR FRANCIS CHANTREY, R.A. 

Canvas ^oin.H. 2c,\in.W. 
Bequeathed by Mrs. A. J. Milner. 

336. TWO FAVOURITE CHICKENS GOING TO MARKET. 

From the painting by W. R. BIGG, A.R.A. 

2oin.H. 2^\in.W. 

Engraved in mezzotint by W. Pether, F.S.A. 
Bequeathed by Mrs. A. J. Mihicr. 



S2 



387. SCENE FROM THE "VICAR OF WAKEFIELD." 

E. 6USTAVE GIRARDOT. 

Canvas ^oin .H. 5 1 ^ m . W. 

Presented by Mrs. J. Dickinson Baton. 

"And art thou returned to me, my darling, cried I to be 
my comfort in age ? ' That she is ' cried Jenkinson, ' and 
make much of her, for she is your own honourable child and 
as honest a woman as any in the whole room, let the other be 
who she will — And as for you Squire, as sure as you stand 
there this young lady is your lawful wedded wife, and to 
convince you that I speak nothing but the truth, here is 
the licence by which you were married together.' So saying 
he put the licence into the Baronet's hand." 

The scene is in the gaol where Dr. Primrose had been in- 
carcerated by Thornhill. Here his family is restored to him. 
He is embracing his daughter, OHvia, whom he supposed was 
dead. It is the last scene in the book before the double 
wedding. 




5. THE PIAZZA NAVONA AT ROME. 



DAVID ROBERTS, R.A, 




' 23. TROUT FISHING NEAR RICHMOND, YORKSHIRF. 

E. J. NIEMANN. 




33. THE VILLAGE INN. 



GEO. MORLAND. 



57 





114, 



VINTAGE OF SEVILLE, 



J. PHILLIP, 



121. THE PROPOSAL. 



SIR J. EVERETT MILLAIS, R.A. 




180. A MOUNTAIN WATERFALL IN SNOWDONIA. W. MULLER. 



63 




155. THE SPIRIT OF CHIVALRY. DANIEL MACLISE, R.A. 



164. THE FRENCH IN CAIRO. 



WALTER C. HORSLEY. 




145. THE FL'VG OF TRUCE. 



J. PETTIE, 



R.A. 




179. IN MORA MORTIS (IN THE HOUR OF DEATH). 

W. C. SYMONS. 



00 




70 





203. MORNING OF THE BATTLE OF WATERLOO. 

E. CROFTS, R.A. 



72 




227. FOREST SCENE. 



C. JACQUE. 




219. REST. 



C. N. KENNEDY. 



223. JUDGE JEFFREYS BULLYING RICHARD BAXTER. 

E. M. WARD, R.A. 




124. 



AULD ROBIN GRAY. 



T. FAED, R.A. 



INDEX OF ARTISTS. 



ADAMS J. CLAYTON 207 

Died June 20, 1906, aged 66. 

ANDRE, ED. 214 

ANDREOTTI, F 197 

ANKER, A 109 

ANSDELL, R., R.A. ... 189 



Born at Liverpool in 1815 ; was elected A. R.A. in 1861, and R.A. in 1870. He 
died at Farnborough in 1885. Ansdell's name as an artist is entirely associated with 
the delineation of animals and incidents of a sportsman's life, many of his pictures 
being well-known by engravings. He first exhibited in the Royal Academy in 1840. 

ARMITAGE, EDWARD, R.A 22, 94 

Born in London 1817 ; died May 24, 1896. At the age of 26 he was awarded a 
prize of £300 in the competition for the decoration of the House of Parliament, and 
ultimately painted two frescoes in the upper Waiting Hall. He was elected an 
Associate of the Royal Academy in 1867, and a full member in 1872. In 1875 he was 
appointed lecturer on painting. His pictures chiefly relate to Historical and Scrip- 
tural Subjects. 

AUMONIER, JAMBS 24 

Born in London, where he died Oct. 4, 1911. Whoi a young man be was employed 
as designer for printed cahcoes by a London firm, and never had any special art 
training. He was a member of the Royal Institute of Painters in Water Colours, 
received Heywood Gold Medal from the Council of the Manchester Royal Institution 
in 1876 ; medal of the First Order of Merit at Melbourne in 1887, and a gold medal 
at the Paris International Exhibition in 1889. 

BARKER, T. JONES 235 

Born at Bath in 1815, the son of Thomas Barker, the painter of landscape and 
rural life, known as "Barker of Bath," he received his early art training from his 
father. At the age of 19 he went to Pa ris, and entered the studio of Horace Vernet. 
He painted military subjects chiefly, and died on March 29, 1882 

BARNES, E. 63 

BEAVIS, RICHARD 222, 350, 363 

Born at Exmouth in 1824, owing to parental restrictions it was not until he was 
22 years of age that he became an art student on entering the Government School of 
Design, Somerset House, London, in 1846. Four years later he became designer to 
a firm of decorators in London, then continued to occupy his leisure in the practice 
of painting both in oils and water colours, until the success of his pictures enabled 
him in 1862 to devote himself entirely to painting. He died on November 13, 1896. 

BEETON, J. 32 

BERTINOT, G 310 

A French engraver, born at Louviers (Eure), June 22, 1822. He wa.5 a pupil of 
Drolling and Martinet, gained the ' Prix de Rome ' in 1850, a medal of the first class 
and the Cross of the Legion in 1867. He succeeded his master. Martinet, at the 
Acad^mie des Beaux Arts in 1878, and died on April 19, 1888. 

BLAAS, EUGENE VON DE 191 

Professor of Painting at the Vienna Academy. 

BOEHM, SIR JOSEPH EDGAR, R.A. 267 

Bom in Vienna, July 6, 1834, where he received his early education. He studied 
also in Italy and Paris, but settled in England in 1862, where he was soon recognised 
as a sculptor of great abUity. He executed various commissions for the Queen, and 
many pubUc statues in England and India. He was elected A.R.A. in 1878, and R.A. 
in 1882. He died suddenly in his studio December 12, 1890. 



u 



BONHEUR, FRANCOIS AUGUSTS 218 

Born at Bordeaux in 1824, and was taught painting by his father, with his sister, 
Rosa Bonheur. He was best known by his landscapes with cattle. His death 
occurred in Paris on February 21, 1884. 

BONHEUR, PEYROL 193 

BONHEUR, ROSA 125 

Born at Bordeaux, March 22, 1822, and died in Paris in July, 1899. Was un- 
rivalled amongst her own sex for her delineation of the various forms of animal life. 
She dressed in male attire, and visited horse fairs and other places, where she could 
study the various forms and actions of animals, many of which she kept alive in close 
contiguity to her studio. 

BONINGTON, RICHARD PARKES 68 

A landscape painter. Born near Nottingham in 1801 ; and died in 1828. He 
spent a great part of his short career in France and Italy, where most of his pictures 
were painted. 

BOSKERCK, R. W, van 336, 352, 367 

BOSSUET, F 353 

BOUGHTON, GEORGE H., R.A 38 

Born near Norwich in 1836, but went to the United States when three years of 
age, and remained there until 1860. One of his earliest pictures, exhibited in 
England, related to the same subject as the one in this Gallery. He was elected 
A.R.A. in 1879, R.A. in 1896. He died on January 19 1905. 

BOURCE, HENRI 12 

BRANDARD, E. P 309 

Born in 1819, he worked with his elder brother, R. Brandard, the eminent hne- 
engraver. He engraved several of the works of J. M. W, Turner, who often visit-ed 
the engraver's studio to touch up the proofs. He died on April 3. 1898. 

BRANWHITE, CHARLES 17 

A native of Bristol, born in 1818, he was a pupil of his father, a miniature 
painter. A close friendship with Miiller, with whom he studied, had marked in- 
fluence on Branwhite's style. He died in 1880. 

BREUGHEL, PIETER, the younger 330 

Son of an artist, he was born at Brussels in 1564, and died at Antwerp, 1638. 

BREWTNALL, EDWARD FREDERICK 226 

Born in 1847, he became a well-known painter in water colours, and was a 
frequent exhibitor at the Royal Society of British Artists, of which he was elected 
a member in 1882. Later he worked in oils and contributed to the Royal Academy 
up to the time of his death in 1902. 

BRIGHT, HENRY 53, 60, 102 

Bom at Saxmundham, Suffolk, in 1814, he was at first apprenticed to a chemist, 
becoming later dispenser in the Norfolk and Norwich Hospital. In the latter city he 
became associated with Crome, Cotman and others of the Norfolk School, and 
adopted art as a profession, removing to London where he joined the Institute of 
Water-Colour Painters. He painted in oils as well as water colours, his first oil 
painting being exhibited at the Royal Academy in 1845. He died at Ipswich in 1873. 

BROCKY, CHARLES 177 

Born at Banat in Hungary in 1808, he died in 1855. After many vicissitudes, in- 
cluding that of a strolling player, he was at length placed in a free drawing school 
at Vienna, whence he went to Paris and studied at the Louvre. When about 30 years 
of age he came to London, exhibited his first picture in the Royal Academy and was 



afterwards a regular contributor to the annual exhibitions. 

BRUNET-DEBAINES, A 292 

BUBGENS, H. J 243 

BURR, ALEXANDER HOHENLOHE ... 131, 138, 242 



Brother of .John Burr, with whom he received his art instruction at the Trustees' 
Academy, Edinburgh. The brothers removed to London in 1861. He first exhibited 
at the Royal Academy in 1860, and his last contribution was in 1888. 



lii. 



BURR, JOHN" lot 

Born in Edinburgh in IS.M, he received his training at the Trustees' Academy in 
that city, and first exhibited at the Royal Scottish Academy in 1850. With hi; 
brother he removed to London in 1861, where he exhibited frequently at tlio Jloyal 
Academy and other exhibitions. He was for soma time president of tin IJoyal 
Society of British Artists. He died on February 8, 1893. 



CALLIAS, H. DB 158 

CA3IMARAN0, MICHELE 243 

CASTAGNOLO, E. T 153 

CERIEZ, T. 46 

CHAILLOU, 57, 134 

CHAMBERS, GEO ... 105 



Son of a seaman of Whitby, Yorksliire, where he was born in 1803. At a very 
early age he was sent to sea, and soon displayed his talent for art by making sketches 
of shipping for the gratification of the seamen. Afterwards coming to London, he 
achieved considerable fame as an excellent painter of shipping. He died in 1840. 

CHANTREY, SIR FRANCIS LEGGATT, R.A 256, 257, 370, 385 

Born at Norton, near Sheffield, April 7, 1781. At the age of 16 he was apprenticed 
to Ramsay, carver, of Sheffield, for seven years, and soon disi)layed considerable 
talent by drawing portraits and landscapes in pencil. In 1802 he made a compo'^ition 
with Ramsay for the remaining period of his articles, and set up as a portrait painter, 
having his studio at 24, Paradise Square. About this time he also oommcnced 
studying at the Royal Academy, and had a studio in London. After 1804 lie devoted 
himself almost exclusively to sculpture. His first picture was exhibited in the Royal 
Academy in 1804 : and the first bust which he executed in marble M-as that of tlie 
Rev. J. Wilkinson, now in the Sheffield Parish Church. Hi3 professional \i«its to 
Sheffield ceased about 1808, and he afterwards resided in London, viuting I'aris in 
1814, and Italy in 1819. He was elected A.R.A. in 1815, and ll.A. in 1818, and died 
suddenly Nov. 25, 1842. He left the bulk of his property to the Eoyal Academy to 
found the fund known as the Chantrey Bequest, with the view of establishing a 
national collection by the purchase of the most valuable works in sculpture and 
painting by artists of any nation residing in Great Britain. 

CHIALIVA, L 161 

CLAYS, PAUL JEAN 41, 74, 172 

Belgian marine painter, born at Bruges in 1819. He completed his art education 
in Paris, and afterwards estabUshed himself in Brussels. Following the methods of 
the old Dutch masters, with his fine sense of colour, and broad simple style, he soon 



made a name for himself. He was an officer of the Legion of Honour. His death 
took place at Brussels, on February 10, 1900. 

CLOUSTON, R. S 320 

COLE, GEORGE ... 228 



Born in 1808, he started his artistic career at Portsmouth as a painter of ])ortraits 
and animals, without any special tuition. After settling in London, where he first 
exhibited in 1840, he devoted himself to landscape painting up to the time of his 
death in September, 1883. 

CONSTABLE, JOHN, R.A ... 91, 92, 146 

Bom in Suffolk in 1776, he early evinced a taste for landscape painting, a branch 
of art to which he exclusively devoted himself. He is described by C. R. Leslie, 
R.A., as the most genuine painter of English cultivated scenery, leaving untouched 
its mountains and lakes. He was elected A.R.A. in 1829, and 10 years later he 
became a full member. He lived much in the open air, receiving in^iiiration for his 
pictures direct from nature, though it was many years before his genius was apprec- 
iated in England. Three of his pictures, placed in the Salon in 1824, by a French 
speculator, who had purchased them at the Royal Academy, created a sensation in 
Paris, and the King of the French awarded Constable a gold medal. In 1827 he took 
up 'his abode at Hampstead, where he says " my little studio commands a view 
without an equal in all Europe," His death came suddenly in London, on April lat, 
1837. 



iv. 



COOKE, EDWARD WILLIAM, R.A. 139 

Born in London in 1811, he became at an early age, the pupil and assistant of 
his father, who was well-known as an engraver of Turner's pictures. As the result 
of this training, young Cooke early published a set of etched i)lates, but at the age of 
21 he determined to adopt oil painting instead of engraving. He exhibited for the 
first time in the Royal Academy in 1835, and was afterwards a regular contributor to 
the Academy, of which he became an Associate in 1851, and a full member in 1864. 
Sea pieces and fishing craft form the chief subjects of his paintings, many of them 
being views on the Thames, the Medway and the English Coast, but he also painted 
in Holland, France, as well as scenes from the lagoons of Venice. He died at 
Groombridge, near Tunbrldge Wells in 1880. 

COOPER, THOMAS SIDNEY R.A 15, 156, 174, 209 

Born at Canterbury in 1803, he early attracted attention by his delineation of 
cattle. He was specially noted as a cattle painter, and his pictures soon gained the 
popular taste. At the age of 20 he went to London, and became a student at the 
Royal Academy. From 1827 to 1831 he resided in Brussels, then settled in London, 
exhibiting his first picture at the Academy in 1833, afterwards contributing annually 
until the year of his death. He was elected A.R.A. in 1845, and R.A. in 1867. To 
his native city of Canterbury he was a generous benefactor, his most notable gift 
being the " Sidney Cooper Art Gallery," erected on the site of the house in which 
he was born. He died on February 7, 1902 at the ripe age of 98. 

CORMACK, Mrs M 319 

COX, DAVID 31 

Born in Birmingham in 1783, he began his career as a colour-grinder to the 
Birmingham Theatre, and was ])romoted to the post of a scene painter. He removed 
to London in 1803, and in 1805 paid his first visit to Wales, which was afterwards 
the favourite scene of his labours. He received a few lessons in water-colour 
painting from John Varley. Late in life he began to practice oil painting, after some 
lessons from William Miiller, but his fame chiefly rests upon his water-colour 
drawings, and as early as 1813 he was elected a member of the Society of Painters 
in Water- Colours. In 1814 he removed to Hereford, where he was drawing master 
in a ladies' school, and while there he published a "Treatise on Landscape Painting 
and Effect in Water-Colours." In 1827 he returned to London, but only for a few 
years, liis homely habits craving a quieter residence, and he finally settled at 
Harborne, near Birmingham, where he died on the 7th of June, 1859. 

CRESWICK, THOMAS. R.A 19, 26, 56, 90, 122, 209, 371 

A native of Sheffield, born in 1811, he was sent when young to study under 
J. V. Barber, of Birraiugham. In 1828, he went to London and at once became an 
exhibitor at the Royal Academy, and was a regular contributor to the annual ex- 
hibitions until his death in 1869. He was a landscape painter of singular power and 
refinement, with a mastery of colour and atmospherical eflects that was scarcely 
excelled, specially delighting in the quiet beauties of inland scenery, with its ripphng 
streams, riverside noolcs, glens and dells. He painted many pictures in conjunction 
with contemporary artists, and took an active part in the proceedings of the Royal 
Academy after he becanie an Academician in 1851. In 1842 he was awarded a 
premium of fifty guineas by the British Institution, and the same year was elected 
A.R.A. His R.A. diploma is in the Sheffield Museum. 

CROFTS, ERNEST, R.A 54, 93, 203 

Bom at Leeds in 1847. Elected A.R.A. in 1878, R.A. in 1896. Died March 
19, 1911. His chief works were pictures of mihtary events, in which he records the 
practical facts of war with careful accuracy, and the closest attention to detail, while 
the accuracy of the uniforms and accoutrements can always be reUed upon. 

OROME, JOHN 100 

Known as Old Crome, to distinguish him from his son, also a painter. Born at 
Norwich in 1769, the subjects of his pictures are chiefly taken from his native county, 
though he also painted in the Lake District, on the Wye, and in Holland and France. 
He died in 1821. He rarely exhibited in the Royal Academy, his works being eagerly 
purchased at moderate prices in his native city, where he founded "The Norwich 
Societv of Painters," which brought out the distinguished group of painters known 
as "The Norwich School." 

DANBY, FRANCIS, A.R.A 208 

Born near Wexford, Ireland, in 1793, he studied under a landscape painter named 
O'Connor, in Dublin, where his first picture was exhibited in 1812. In the following 



V. 



year he came to Bristol, where he resided for some years, and sent his first picture 
to the Royal Academy in 1824, being elected an Associate in 1825. He spent 11 years, 
from 1830 to 1841, in Switzerland, devoting little time to his art, which, however, he 
took up with renewed enthusiasm on his return to England. He died in 1861 at 
Exmouth, where he had resided since 1847. 

DANSAERT, L. M. C 151 

DAVIS, HENRY WILLIAM BANKS, R.A 34, 183 

Born in 1833, he was elected A.R.A. in 1873, and R.A. in 1877. His pictures of 
cattle and sheep always have a setting of landscape of a very high order of beauty, 
with skilful delmeation of atmospheric effects, especially in the varied range of his 
Scotch scenes. 

DAWSON, HENRY 204 

Born at Hull in 1811, he began life in a Nottingham lace factory. He adopted 
art as a profession in 1835, but for a long time he met with scant encouragement from 
the public. In 1844, he removed to Liverpool, where he remained for five years, and 
then took up his residence in London. He died in 1878. 

DELAUNEY 304 

DOBSON, WILLIAM CHARLES THOMAS, R.A 9 

Born at Hamburg in 1817, his father being an English merchant in that city, and 
came to London in 1825. Dobson entered the Royal Academy as a student in 1836. 
For a couple of years he was head master of the School of Design in Birmingham, 
resigning that post in 1845 when he went to Italy. From there he went to Germany, 
where he remained for several years. He painted both in oil and water-colours, the 
subjects of his pictures being chiefly scriptural. In 1867 he was elected A.R.A., and 
R.A. in 1872. His death occurred at Ventnor in 1898. 

DUBUFE, EDOUARD 271 

Son of the French historical and portrait painter, he was born in Paris in 1820, 
where he studied art under his father and Paul Delaroche. He exhibited his first 
picture at the Salon in 1839, his earlier works being mostly of a religious nature, 
while later he became a famed and fashionable portrait painter. He died at 



VersaiUes in 1883. 

DUNCAN, EDWARD 205 

Marine painter, born 1802, died 1882. 

DUVERGBR, THBOPHILE ... ... 136 

French artist, born at Bordeaux, September 17, 1821. 

EADON, WILLIS (Sheffield) 369 

JEARLE, T 10?, 

EGG, AUGUSTUS LEOPOLD, R.A 160 



Born 1816, and entered the Ptoyal Academy as a student in 1836. Was elected 
A.R.A. in 1848, and R.A. in 1860. He painted comparatively few pictures, the 
subjects being historical or fancy compositions from classic fable and fiction, and 
altogether only exhibited 28 works at the Royal Academy. He died at Algiers in 1863. 

ELLIS, EDWIN 157 

Born at Nottingham in 1843, and died in 1895. He received no regular art 
training, but early developed a sincere appreciation of the motion and moods of the 
sea, ultimately developing into a very powerful painter of sea effects. 

ETTY, WILLIAM, R.A 250 

Born at York, March 10, 1787, where he died on the 13th of November, 1849, 
He was first apprenticed to a letterpress printer at Hull, with whom he served seven 
years. In 1806 he removed to London, and aft^r entering the schools of the Royal 
Academy he was for a year, a pupil of Sir Thomas Lawrence. After many re- 
jections, one of his pictures was accept-ed for the Royal Academy in 1811, and from 
that time he was a regular contributor. He was elected A.R.A. in 1824, and R.A. 
in 1828. A visit to Italy in 1822 greatly influenced his style of art, and aroused a 
higher appreciation of colour. While in London he regularly attended the Life school 
at the Academy, decUning to discontinue this practice even after he had been elected 
an Academician. He returned to his native city of York in failing health in 1848. 



vi. 



FAED, THOMAS, R.A 124, 129, 213 

Born in Kirkcudbright, Scotland, 1826, elected A.R.A. in 1859, and R.A. in 1864. 
His subjects are generally chosen from homely incidents of Scottish life. At the 
age of 15 he entered the Art School in Edinburgh, and eight years later was elected 
an Associate of the Royal Scottish Academy. In 1852 he went to London, where he 
regularly contributed to the Academy until failing sight compelled him to reUnquish 
his membership in 1893, and for the seven last years of his life he was blind. He 
died August 17, 1900. 

FAULKNER, JOHN 262 

FIELDING, ANTHONY VANDYKE COPLEY 62 

Born in 1787, he became distinguished as a water-colour painter of landscapes 
and sea-pieces, though he also painted in oils. He was, for some time. President of 
the Society of Painters in Water Colours, and died at Brighton, March 3, 1855. 

FRERE, CHARLES 184 

Son and pupil of Edouard Fr^re, he was born in Paris, July 10, 1837. 

FRERE, EDOUARD 18 162 

Born in 1819, near Paris, and resided nearly all his life at Ecouen, a quiet village 
about eight miles from the French capital. Frdre has painted the history of the child 
life of his time from babyhood upwards. He obtained medals at the Salons of 1851, 
1852, 1855, and was decorated with the Legion d'Honneur. He died on May 20, 1886. 

FRITH, WILLIAM POWELL, R.A 135, 209, 331 

Bom at Studley, near Ripon, in 1819. Elected A.R.A. in 1845, and R.A. in 1853. 
Died Nov., 1909. He is popularly known by his pictures of "Ramsgate Sands," 
purchased by Queen Victoria, "Derby Day" in the National Gallery, and "The 
Railway Station" in the Royal Holloway College. These are familiar to the public 
by numerous engravings, and represent h!s dexterous groupina;, skilful drawing, and 
the capacity of entering into the spirit of humour and pathos pervading human 
nature. 

GARAY, M. de 216, 247 

GILBERT, SIR JOHN, R.A 169 

Born at Blackheath in 1817, he was, as a youth, put to his father's business of 
an estate agent, but soon relinquished it, and after studying under Geo. Lance, he 
exhibited his first picture at the Society of British Artists in 1836. Tm'o years later 
he exhibited at the Royal Academy, and continued to do so irregularly for the rest 
of his life. His most popular work was that of an illustrator, and many of his 
sketches were reproduced in Punch, and most of the standard novels and dramas. 
In 1871, when President of the Old Water Colour Society, he was Knighted by 
Queen Victoria, and in 1893, he received the Freedom of the City of London, pre- 
senting at the same time his sketch books, and many of his oil paintings to the 
Guildhall Art Gallery. He was elected A.R.A. in 1872, and R.A. in 1876. His death 
occurred in 1897. 

GIRARDOT, E. GUSTAVE 387 

GLASSBY, R 269 

Died August 3, 1802. A native of Mexborough, near Sheffield, he worked for 
many years in the studio of Sir E. Boehm, R.A. 

GOGIN, C 182 

GOOD ALL, FREDERICK, R.A. ... 2, 44, 59, 76, 78, 101, 108, 178 

Born in London, Sept 17, 1822, his father being an eminent engraver. He won 
a silver medal of the Society of Arts for his first painting, and had a picture exhibited 
in the Royal Academy when he was 17. At first he painted figure groups of English 
pastimes, &c., but after a visit to Egypt his subjects turned to desert scenes. He 
was elected A.R.A. in 1852, and R.A. in 1863. His death occurred on July 28, 1904. 

GOODALL, HOWARD 188 

Second son of Frederick^Goodall, R.A., was born in 1849. His picture, "Capri 
Girls Winnowing," was exhibited in the Royal Academy in 1873, being the second 
picture he contributed tx) that institution. His promising career was cut short 
by death at Cairo in 1874. 



GULLAND, Miss E. 



313 



vu. 



GUSSOW, CARL 149 

Bora at- Havelberg, Braudenberg, in 1843, he became a pupil at the Weimar Art 
School, and in 1867 went to Munich. After a visit to Italy he returned to Weimar, 
was appointed Professor at the Art School, then at the Berlin Academy, of which 
he became a member in 1883. 

GUTTMAXN, J 232, 233 

HAANETf, ADEIANA 118 

HAGHB, L 215 

Hon. President of Royal Institute of Painters in Water-CoIours. Born at 
Tournav in 1806, he came to England while still a young man, and aicd at Stockwell, 
March 9, 1885. 

HALLE, C. B 171 

Son of the eminent musician Charles Halle. 

HARDY, THOMAS BUSH 358, 361, 364, 365, 366 

A native of Sheffield, he painted marine subjects chiefly, and was about the 
most rapid and prolific water-colour painter of his day. He died suddenly in 
London, on December 15, 1897. 

HARE, ST. GEORGE 275 

HAVELL, WILLIAM 201 

Landscape painter, born at Reading in 1782, and died at Kensington in 1857. 
He travelled in China and India, and also visited Italy. 

HAVERS, ALICE MARY (Mrs. Fred Morgan) 194 

A South Kensington student, born in 1850, she married Fred Morgan in 1872. 
She exhibited at the Royal Academy and Salon between 1873 and 1889, and died 
September, 1890. 

HAYES, EDWIN, R.H.A. 192 

Died jN'ovember 7th, 1904, aged 84. The theme of his brush was the sea. 

HELMICK, HOWARD 338, 347, 368 

HEMY, C. NAPIER, A.R.A 175 

Born at Newcastle-on-Tyne, May 25, 1841, and became a pupil of the School of 
Art there, afterwards entering the Dominican Monastery at Newcastle, from whence 
he was sent to a branch at Lyons, France, but left at the age of 21 and became a 
painter, studying for about 3 years under Henry Leys at Antwerp. Then he came 
to England and painted his first picture when he was 28. His subjects are marine, 
and most of his pictures are painted from his yacht. 

HENTZELL, J 229 

HESTER, E. GILBERT 298, 303, 305, 307, 311, 315, 317, 318 

HIBBARD, Dr. ROWLAND 259, 260 

HILLINGFORD, R. 349 

A painter of military and other subjects, distinguished by their adherence to fact. 

HIRST, NORMAN 290 

HOLLAND, JAMES 128, 168 

Born at Burslem in 1800, in his boyhood he painted flowers on pottery in the 
Davenport factory. In 1819 he came to London and still went on painting fliowero, 
exhibiting in the Royal Academy from 1824. Went to Paris in 1831, then devoted 
himself to landscape painting. Later he visited Italy, Switzerland, Holland, 
Normandy and Portugal, his best pictures being painted in Venice and Milan. He 
died in London in 1870. 

HORSLEY, JOHN CALLCOTT, R.A 166 

Born in London in 1817. Son of Wilham Horsley, the musician, and grandson 
of Sir Augustus Callcott, the eminent painter. He was a pupil of the Royal 
Academy and his first work, exhibited in 1837, was "Rent Day in Haddon Hall." 
He received prizes in the Westminster Hall Competition in 1843, was engaged to 
paint one of the pictures for the House of Lords, and another in the Poets' Hall, 
in Westminster Palace. He was elected R.A. in 1864, His death, at the age of 86, 
occurred in London, on October 18, 1903, when his book entitled "Recollections of 
a Royal Academician" was being published. 



vffi. 



HORSLEY, WALTER C 164 

Born in 1855, and entered the Royal Academy Schools in 1873. Son of J. C. 
Horsley, R.A. 

HOWARD, E. STIRLING 258 

At one time Master of the Sheffield School of Art. 

HUME, EDWARD 35 

HUMPHERY, EDWARD J 144 

JACQUE, CHARLES EMILE 200, 227 



Born in Paris, May 23, 1813. he began as an engraver, but subsequently took to 
painting also, liis speciaUty being sheep and scenes of rustic life, practising both 
classes of work throughout his Ufe. He was made Chevalier of the Legion of 
Honour 1867, and at the Universal Exhibition of 1889 he received a gold medal as 
a painter and a Grand Prix as an engraver. He died in his native city on May 7, 
1894. 

JACQUET, G 354, 355, 356 

Died July 11, 1909, aged 63. 

JOHNSON, C. E 119 

A landscape painter. Born 183G. He was a regular exhibitor at the Royal 
Academy between 1855 and 1893. He died in 1913. 

JOHNSON, HARRY 88 

A landscape painter in oil and water-colours, born at Birmingham in 1826, he 
came to London in 1843 and studied under William Miiller and David Cox. Elect-ed 
Associate Institute Painters in Water-Colours, 1868 ; full member, 1870 ; died 1884. 

JOHNSTON, ALEX Ill, 185 

Born in Scotland in 1815, he was a pupil of the Trustees' Academy of Edinburgh, 
and later came to London, where he studied at the Academy Schools. He began to 
exhibit in 1835, and continued to do so up to the time of his death in 1891. 

JONES, FRANCIS C 333 

JONES, GEORGE, R.A 377, 378, 370, 380, 381, 382, 383 

Born in London in 1786, he entered the Schools of the Royal Academy in 
1801, and first exhibited there in 1803. Was elected an Associate in 1822, and an 
Academician in 1824. He held the office of Librarian to the Academy from 1834 to 
1840, was keeper from 1840 to 1850, and during the illness of Sir Martin Archer, he 
acted as president. He held a commission in the Militia at the time of Napoleonic 
Wars, and was with the Army of Occupation in Paris, resuming his artistic profession 
on the return of peace. He painted battle scenes, landscapes, and subject pictures. 
He was one of the executors of J. M. W. Turner, and in 1849 published a memoir of 
Sir Francis Chantrey. His death occurred in London, 1869. 

KATE, HERMAN TEN 159 

Born at the Hague, February 16, 1822, pupil in Amsterdam, where he won a 
medal at the Academy v>'hen 19 years of age. Went to Paris for a year, then settled 
at the Hague. 

KENNEDY, 0. N 219 

KILBURNE, G. G., R.I 357, 359 

Born in Norfolk, July 24, 1839. After first working for a few years as a wood- 
engraver, he finally adopted the profession of a painter. 

KING, YEEND 332 

Born in Loudon, August 21, 1855. He firot studied painting under WilUara 
Bromley, R.B.A., afterwards in Paris under Bonnat and Cormon. He is Vice- 
President of the Royal Institute of Painters. 

KOEKKOEK, BAREND CORNELIS 50, 137 

Born at Middleburg, Holland, in 1803, and studied under his father, J. H. 
KoekL'oek, the marine painter, and afterwards in the Academy of Amsterdam. He 
frequently exhibited at Paris, where he obtained medals in 1840 and 1843, as well as 
at the International Exhibition in 1855. In his later years he resided at Cleve, 
where he founded a drawing academy, and died in 1862. 

KOEKKOEK, JAN HERMANN 216 

\ Dutch marine painter, bom at Vere in 1778. His sea and river scenes procured 
Iiim the membership of the Amsterdam Academy He died at Amsterdam in 1851. 



Ik. 



KOEKKOEK, HERMANITS 202 

Born at Middlehurg.WoUand, IVLarch 13, 1815, died at Haarlem, Nov. 5 1882, 
Son and pupil of J. Hermann Koekkoek, and brother of B. C. Koekkoek. 

KOEKKOEK, M. A 106 

LADELL, E 238 

LAMBINET, EMILE C lOn 

French landscape painter, born at Versailles in 1815, and died at Bougivall 
in 1877. 

LANDSEER, SIR EDWIN HENRY, R.A 4, 30 125 

Born in London on March 7, 1802, he received his early art training from his 
father, and soon showod evidence of remarkable genius. At the age of 13 he 
obtained a medal froi i tlie Society of Arts for a drawing of a mastiff, and in his 
sixteenth year he exhibited the "Portrait of a Dog," at the Royal Academy. He 
established an unrivalled reputation as a painter of animals, especially dogs, and 
his pictures have been po numerously engraved as to be familiar to everybody. Sir 
Edwin was awarded the large gold medal at the Paris Universal Exhibition of 1855, 
and the medal for Fhie Arts at the Vienna Exhibition of 1873. Was elected R.A. 
in 1830, and received the honour of knighthood in 1850. He died in 1873, and was 
interred in St. Paul's Cathedral. 

LAW, DAVID ... 289. 293, 294, 295, 296, 297, 300, 301, 302, 306, 314, 321 
Born in Edinburgh in 1831, he was apprenticed in early life to a landscape 
engraver, studying alio at the Trustees' Academy, and afterwards emploved in the 
Ordnance Survey OtHce as a map engraver for 20 years. He then came to London, 
devot-ed himself to art and exhibited in the Royal Academy and other Galleries, 
chiefly in water-colour. His chosen medium, however, was etching, and he 
produced a great number of plates, many after i)ictures, but mostly original 
landscapes. He died in 1902. 

LEADER, BENJAMIN WILLIAMS, R.A 16, 339. 351 

Born in 1831 ; elected A.R.A. in 1883, and R.A, in 1898. A landscai)o painter, 
very skilful in dealing with the difficult effect of sunlight in noonday brilliance or 
evening glow. 

LEE, FREDERICK RICHARD, R.A 156, 210, 252 

Born at Barnstaple, Devon, in 1799, and entered the army at a very early age. 
but after serving a campaign in the Netherlands, retired from the service, and 
became a student at the Roval Academy, where he first exhibited in 1824. He was 
elected A.R.A. in 1834, and R.A. in 1838, and died at the Cape of Good Hoi)e in 1879. 

LEEMPULLEN, CORNELIUS VAN 20 

LEFI3VRE, ROLAND 130 

Born at Anjou in 1608, he spent considerable time in Venice and London, and 
died in the latter city in 1677. He painted portraits and historical subjects of a 
small size. 

LEITCH, W. L 211 

Vice-President of the Institute of Painters in Water-Colours, born at Glasgow, 
in 1804 ; died April 25, 1883. 

LSWIN, STEPHEN 342, 346 

LINNELL, JAMES THOMAS 86 

Second son of the late John LinncU. First exhibited in the Royal Academy in 
1850, died November 26, 100:i. 

LINNELL, JOHN 55, 61 

Born in London, 1792. Was pre-eminently a colourist, and his pictures are 
generally characterised by warm and glowing atmospherical effects. He entered the 
schools of the Royal Academy in 1805, and exhibited his first picture in 1807, but 
although his works are highly esteemed, he never attained academic rank. His last 
picture in the Royal Academy was exhibited a year or two before his death, which 
occurred in January, 1882, in his 90th year. His two sons, William and James T., 
are both well-known artist^, and their style much resembles tlieir fatlier's in com- 
position and colour. 

LINNELL, WILLIAM 13, 67, 140 

LUCAS, ARTHUR 264, 274 



z 



LUCY, CHARLES 237 

Born at Hereford ia 1814, he commenced life as an appreutic? to his uncle, a 
druggist, but soon proceeded to Paris and entered the Ecole des Beaux Arts, 
subsequently becomin? a student in the Royal Academy. He afterwards lived for 
several years near FonUineblcau. He received a premium of £200 for a cartoon in 
the Westminster Hall Competition. Historical subjects were his special theme. He 



died in London in 1873. 

LUDOVICI, A. Jun 341 

LUTZENS 87, 89 

MAGLISE, DANIEL, R.A ... ... ... 155 



Born at Cork in 1811. Was an able painter of subjects of poetic and historical 
incident. He first pursued his studies at the Cork School of Art, bat cams to 
London at an early age, and entered the schools of the Royal Academy in 1828 ; 
he was elected A.R.A. in 1835, and R.A. in 1840. He painted several of tlie cirtoons 
for the decoration of the Houses of Parliament. Besides his numerous paintings 
Maclise is well-known as a book illustrator. He died at Chslsea, April 25, 1870. 

MADLINER, W. J 95 

MAGNUS, ROSE 198 

MARSHALL, WILLIAM CALDER, R.A 265, 266, 276, 280 

Sculptor. Born at Edinburgh in 1813. Studied in London under Chantrey and 
Bailey ; was elected A.R.S. A. in 1842, A.R.A. in 1844, and R.A. in 1852. Died in 1894. 

MAUVE. ANTON 83 

Born at Zaandam, Holland, in 1838. Family opposition to an artistic career 
limited his early studies to nature, but later he became a pupil under Van Os. He 
was also much influenced by Millet, and his rendering of pastoral scenes, in which 
he chiefly deUghted, is marked by a s'lbtle atmospheric quahty in deUcate soft 
tones beautifully harmoui-ied, and great skill and sympathy is displayed in the 



animals introduced. He died at Arnheim in 1888. 

McCALLAM, F 126 

MEFFSNER, ERNST 334 

MEORMANS, F 244 

MILLAIS, SIR JOHN EVERETT, Bart. ... 121 



Born at Southampton in 1829. At thi age of ten he won the first medal of the 
Society of Arts, and in the following year became a student at the Royal Academy 
where in 1847 he was awarded the Gold medal. Elected A.R.A. in 1853, and R.A. in 
1864 ; he succeeded Lord Leighton as President of the Royal Academy in 1896, and 
died on August 13 of the same year. Millais was one of the originators of the Pre- 
Raphaelite Brotherhood founded in 1843, and he continued liis connection with it 
until 1884. He was made a member of the Legion of Honour in 1878, and was 
created a baronet in 1885. He was a man of immense energy, his work being of a 
very comprehensive character, embracing subjects oi the most diverse kind, and 
his influence on British Art was deep and abiding. 



MILNER, Miss E. E 312 

MONTALBA, HILDA 221 

MORGAN, FRED 225 

MORLA.VD, GEORGE 33 



Born in London in 1763, was the son of an artist and a acudeat of tiie Royal 
Academy. In early life he practised landscape painting chiefly, but afterwards 
confined himself mainly to rustic subjects, in which domestic animals form the 
))rincipal feature. In 1799 he resided in the Isle of Wiaht, where he produced his 
well-known pictures of coast scenes, fishermen and smugglers. He died in 1804. 

MUCKLEY, W. J 115 

MULLER, WILLIAM JAMES 1, 47, 49, 65, 70, 77, 170, 180 

Born at Bristol in 1812, he received his first instruction in art under J. B. Pyne, 
and during his short life executed a large number of pictures, both in oils and 
WAter-colours. He first exhibited in the Royal Academy in 1833. He travelled in 
Germany, Switzerland and Italy, and later visit-^d Greece and Egypt, bringing home 
a largj number o! sketches, A 'tout tiie end of 1839 he settled in London, and in 1841 



xi. 



joinei the Government, expedition to Lycia, producing from the valuable sketches 
then made most of the pictures exhibit^'d at the Royal Academy and Ikitish InstKu- 
tion during tiio la:5t three years of his life. Aft«r his death, tlie sale of his pictures, 
finished and unfinished, excited a keen competition. He died September 8, 1845. 

MUNTHE, LUDWIG 103 

A Norwegian painter, born at Aaroen, near Bergen, March 11, 1841. He was a 
pupil of Schiertz in Norway, and of A. Flamm in Dtisseldorf, where he settled after 
travelling in Italy, France, and the Netherlands. As Swedish Court painter he 
obtained the Olaf Order, also the Leopold Order, the Legion of Honour, a first- 
class medal at the Paris exhibition of 1878, and gold medals at Amsterdam, Loudon, 



Vienna and Berlin. He died March 30, 1898. 

MURRAY, CO , 316 

MijSEN, F 116 

NASMYTH, PETER (Commonly called Patrick) 39, 150 



Born at Edinburgh, 1786, son of Alexander Nasmyth (also an excsUent landscape 
and portrait painter). He worked with his left hand, owing to an injury to his right, 
and his homoly raral landscapes are painted with great fidelity and attention to- 
detail. He came to London at the age of 20, and his first picture was exhibited in 
the Royal Academy in 1809. and in 1824 he became one of the original members of 
the Society of British Artists. He died in 1831. 

NICOL, ERSKINE, A.R.A 8, 14, 52, 212 

Born at Leith in 1825. When about 20 he went to Dublin, where he remained 
for four years, and acquired that intimate acquaintance with IrLsh life and character 
so humorously and faithfully portrayed in manv of his pictures. He settled finally 
in England, and for many years contiibuted to the Royal Scottish Academy, of which 
he became a [iill msmbei in 1859, and to the Roval Academy, which elected liim an 
Associate in 1867. He died at Feltha-n, Middlesex, on the 9th March, 1904. 

NICOL, J. WATSON 195 

NIEMANN, EDMUND JOHN ... 23, 69, 148, 163 

Born at Islington in 1813, was engaged at "Lloyd's" in the early part of his 
life, but relinquished business in 1839, to adopt art as a profession, and became an 
eminent landscape painter. His first work at the Royal Academy appeared in 1844. 
He died in 1876, and during the last few years of his life suffered from failing health, 
which shewed its effects in his later pictures. 

O'CONNOR, JAMES A 36, 190 

Born at Dublin in 1793, he was brought up as an engraver by his father. In 1813 
he came to London with Francis Danby, but soon returned to Dublin. In 1822 he 
returned to England and chiefly resided in London, paying visits from there to 
Brussels, Paris, and Rhenish Prussia. He occasionally exhibited at the Royal 
Academy after 1822, and died in 1841. 

OLIVER, W 284, 285, 286, 287, 335, 343, 344 

O'NEIL, HENRY NELSON, A.R.A 322 

Born at St. Petersburg in 1817, he came to England and entered the Royal 
Academy Schools in 1833. He travelled in Italy with A. Elmore, R.A., and became 
a frequent contributor to the Royal Academy, of which body he was elected 
an Associate in 1860. He died on the 13th of March, 1880. 

O'NEILL, G. B 127 

ORCHARDSON, SIR WILLIAM QUILLER. R.A 86 

Born at Edinburgh in 1838. He first exhibited in the Royal Academy in 1863, 
but prior to that date had frequently exhibited at the Royal Scottish Academv. 
Was elected A.R.A. in 1868, and R.A. in 1877. Died April 13, 1910. 

OULESS, W. W., R.A 372 

Bom 1848, elected A.R.A. 1877, R.A. 1881. 

PALING, J. T 176 

PAOLETTI, ANTONIO 340 

PAPPERITZ, G 273 



xii. 



PERCY, SIDXEY RICHARD 165 

Son of Edward Williams the landscape artist, who assumed the name of Percy. 
He was born in 1821 and died at Sutton in Surrey in 1886. He was the founder 
of the so-called School of Barnes, the name of their birth place, which comprised 
the Williams family who painted under the assumed names of Percy, Boddington 
and Gilbert. 

PETHER, W., F.S.A 386 

Painter and mezzotint engraver, bom at Carlisle in 1731, He painted portraits 
and miniatures and exhibited in the Royal Academy between 1781 and 1794. He 
died in London about 1795. 

PETTIE, JOHN, R.A., H.R.S.A. ... 58, 64, 66, 75, 84, 107, 142, 145, 147 
Born at Edinburgh inl889, and at the age of 17 he entered the Trustees' Academy, 
where Orchardson was a fellow pupil. His first exhibited picture was in the Royal 
Scottish Academy in 1858. In 1862 he removed to London and shared a studio with 
Orchardson, and from that date contributed regularly to the Royal Academy, of 
which he became an Associate in 1866, and a full member in 1873. His pictures were 
always dramatic, richly glowing in colour, and dealt chiefly with the deeper passions 
of human nature. 

PHILLIP, JOHN, R.A 72. 80, 81, 99, 114 

Born at Aberdeen in 1817, he went to London in 1834 and became a student of 
the Royal Academy in 1837. He returned to his native city in 1840, where he was 
principally employed painting portraits till 1846 when he took up his permanent 
residence in London. In consequence of severe illness he went to Spain in 1851, 
and resided there for five years, this event materially changing the character of hh 
work, which became much richer and stronger in colour and modelling. He was 
elected R.A. in 1859, and died in 1867. 

PICKERS GILL, FREDERICK RICHARD, R.A 253 

Born in London, the son of an artist, and nephew of H. W. Pickersgill, R.A., 
he first studied under F. Witherington, the landscape painter, an uncle on his 
mothers' side, and in 1840 he became a pupil in the Royal Academy. His first work, 
"The Brazen Age," was exhibited in 1839, and for many years he was a regular 
contributor to the Academy, the themes for his productions being largely taken from 
the works of Spencer and Shakespeare. In 1843 he gained a prize with "The Death 
of King Lear," at the Exhibition of cartoons in Westminster Hall, and in 1847 he 
was awarded a premium of £500 for "The Burial of Harold," which was afterwards 
purchased for the decoration of the Hou^e? of Parliament. He was elected a Royal 
Academician in 1858, and held the keepership of that institution from 1873 till 1887. 
He died at Yarmouth, Isle of Wight, on the 20th December, 1900. 

PIGOTT, W. H 283 

Sheffield artist. Died 1901. 

POOLE, JAMES 373, 374, 375, 376 

Was born in Birmingham, but spent the greater part of his Hfe in Sheffield, 
where he was much esteemed as a landscape painter who paid special attention 
to mountain scenery. 

POOLE, PAUL FALCONER, R.A 220, 224 

Born at Bristol in 1810, he was almost entirely self-taught in art, but came to 
London early, and first appeared at the Royal Academy in 1830. Hia first picture to 
attract special notice was "Solomon Eagle's Exhortation to Repentance during the 
Great Plague of London," exhibited in 1843, and now in this gallery. In 1846 he was 
elected A.R.A., and R.A. in 1861. At the Westminster Hall Competition of 1847 he 
won a prize of £300, and he was awarded a medal at the Paris Universal Exhibition 
of 1855, He led a very retired life and died at Hampstead in 1879. 

POTT, LASLETT J :J37 

Born at Newark in 1837, he was afterwards articled to an architect in 
Nottingham, and later studied art in London under Alexander Johnstone and W P. 
Frith, R.A. He died in London August Ist, 1898. 

PBINSEP, VALENTINE CAMERON, R.A 51, 279 

Bom in 1836, was elected A.R. A. in 1879, and R.A. in 1894. Died Nov. 11th, 1904. 

PYNE, JAMES BAKER 73 

Bom at Bristol, December, 1800. was first articled to an attorney, but 
abandoned the law for iwinting. In 1839 he became a member of the Society of 



xilf. 



British Artists, and afterwards its vice-president. He painted landscapes, chiefly 
river and lake subjects, and his pictures are esteemed for their delicate aprial 
perspective. He died July 29, 1870. 

RAGGI, M 270 

Died Nov. 26, 1907, aged 86. 

IIHODES, M 133 

ROBERTS, DAVID, R.A. 5, U 

Born near Edinburgh in 1796, he commenced his career as a decorative painter, 
and was for several years scene painter at Drury Lane and Covent Garden Theatres, 
London. He sent his tirst picture to the Royal Academy in 1826 ; was elected A.R. A. 
in 1839, and R.A. in 1841. The subjects for his art were chiefly interesting and 
notable buildings, and the two pictures in this Gallery were the result of a visit 
to Italy, a country he saw for the first time in 1851. He died in London, 



November 25, 1864. 

ROBERTSON, H. R 112 

ROBINSON, GERALi:» 291, 299 

ROEGGE, W 141 

SADDLES, JOHN ... ... 308 



A line engraver, born in 1813, and became a pupil of George Cooke. He 
engraved pictures by Turner, Landseer, Millai?*, Poynter and many of the noted 
artists of his time. He was one of the last who worthily carried on the traditions of 
English line engraving. His death occurred at Wokingham, Berkshire, on 
March 29, 1892. 

SADEB, PHILIP 123, 217 

Born at the Hague, February 7, 1837, he became a pupil of the Hague Academv, 
and later visited France and Germany. He at tirst painted historical subjects, 
then scenes fi-om peasant and fisherman's life. 

SALTFLEET, FRANK (Sheffield) 360, 362 

SANDBY, PAUL, R.A 323, 324, 325, 326, 327, 328 

Born at Nottingham in 1725, he received his early art education in the Military 
Drawing School at the Tower, London. With his brother, he was engaged as 
draughtsman in the survey of the Highlands, and subsequently resided with hiin for 
some time at Windsor. He was nominated by the King as one of the foundation 
members of the Royal Academy. In the early part of his career he ])ractised 
engraving on copper and etching on steel, and was one of the first painters in water 
colours, being styled the father of that method. He died in London in 1809. 

SCHENCK, AUGUST FRIEDRICH ALBRECHT 186 

Danish animal painter; born at Gliickstadt (Holstein), April 23, 1828. After 
working in England and Portugal he entered the Ecole des Beaux Arts, Paris, and 

finally settled at Ecouen, near Paris. Besides animals he painted effective land- 
scapes, especially snow scenes. He died Jan. 1, 1901. 

SCHOLDERER, OTTO 173 

A German painter, born in 1834, at Frankfort-on-the-Maine, where he first 
•studied. Was for some years resident in London, and died at Frankfort, 1902. 

SCHREYER, ADOLF 27 

A German painter, bom May 9, 1828, at Frankfort-on-the-Maine, where he 
became a pupil at the Staedel Institute, and also studied at the Munich Academy. 
He was war-artist in the Crimean campaign, also in the Franco-German war of 1870, 
and obtained distinction as a painter of battle-pieces and horses. He lived chiefly 
in Paris, where he obtained medals in 1864, 1865, and 1867, but died at Cronberg, 
Jaly 29, 1899. 

SELOUS, HENRY COURTNEY 272 

Born in London, of Jersey Huguenot family, 1802, died in London, September 24, 
1890. Student at the Royal Academy, where his first picture, painted at the age of 
14, was exhibited. Obtained silver medal of R.A., and two gold and two silver 
medals from the Society of Arts before he was twenty years of age. Distinguished 
himseh in original outline designs from the "Pilgrim's Progress," "Robert Bruce," 
and "Herevvard the Wake," and from the Life of Moses. Illustrated various well- 
known books. His oil paintings comprised marine, landscape, and figure subjects. 



xiv. 



The largest of these are "Jerusalem, Ancient and Modern," "The Cruciflxion." 
in this Gallery, and a painting of the opening of the Great Exhibition of 1851 with 
portrait* from life of Queen Victoria, the Prince Consort, and members of the Royal 
Family. He produced what at that time was the only example of genuine fresco, in 
his competitive work of "Alfred the Great." 

SHELTON, W 367 

SHERRIN, D 345 

SLBAP, JOSEPH AXE 256 

A painter in water-colours, born in Wapping Street, London, 30th May, 1808. 
He died in London on the 16th October, 1859. 

SMITH, THEOPHILUS 268 

Native of Sheffield. 

SOLOMON, ABRAHAM 37 

Born in London in 1824, and was admitted to the Royal Academy Schools in 1839. 
From 1343 he contributed pictures to the Royal Academy and British Institute. 
He died at Biarritz in 1862. 

STANFIELD, WILLIAM CLARKSON, R.A 98, 110, 329 

Born at Sunderland in 1794, and brought up to the sea, where he passed many 
years of his life, and gained that nautical knowledge which distinguishes his 
marine work. After relinquishing a seafaring life, he becatne, for a time, scene 
painter at Drury Lan3 Tlieatre. He first exhibited at the Royal Academy in 1829, 
was elected A.R.A. in 1832, and R.A. in 1835. He died at Hampstead, May 18, 1867. 

STANLEY, LADY (n6e Dorothy Tennant) 187 

Daughter of Charles Tennant. Widow of Sir H. M. Stanley, and now wife 
of Henry Curtis. 

STARK, JAMES 28 

Born at Norwich in 1794, was for some years a pupil of John Crorae, and 
afterwards a student at the Royal Academy. His subjects were woodland, river, 
and coast scenes, many of which were exhibited at the Royal Academy and British 
Institution, where in 1818 he won a premium of ^50. He died in London, 
March 24, 1859. 

STONE, FRANK, A.R.A 273 

Born in Manchester, August 22, 1800 ; died in London, November 18, 1859. 
He was a self-taught painter, first in water-colours, then in oils, his first picture 
being exhibited at the Academy in 1837. He was elected A.R.A. in 1851. He was 
the father of Marcus Stone, R.A. 

STONE, MARCUS, R.A 25 

Born in 1840, son of Frank Stone, A.R.A. Exhibited his first picture at the 
Royal Academy when only 17. Was elected A.R.A. in 1877 and R.A. in 1887. 
In the early part of his career he devoted his brush to historical scenes, but later 
years he has chiefly painted subjects of a sentimental character. 

STOREY, GEORGE ADOLPHUS, A.R.A 40, 230 

Born in 1834, became a student at the Royal Academy, and exhibited his first 
picture there in 1852, was elected A.R.A. in 1876, and teacher of perspective in 1900. 

SWINSTEAD, GEORGE HILLYARD 6 

Born in 1860, he entered the Royal Academy Schools in 1881, exhibited his first 
picture there in the next year, and has been a regular contributor since. 

SYER, JOHN 10, 167 

Born in 1815, at Atherstone, Warwickshire. He came to Bristol in 1848, and 
painted many views in and around the city. His pictures are bold, free representa- 
tions of Welsh and English scenery. He was a member of the Royal Institute of 
Painters in Water- Colours, and exhibited several times at the Royal Academy. He 
died suddenly on June 26th, 1885, at Exeter, whilst on a sketching tour, at the age 
of 70. 



XV. 



SYKBS, GODFREl" 384 

Born at Malton in 1825, and educated at the School of Art, Sheffield. He was 
also a pupil and oo-worker with Alfred Stovens. He was employed on the decoration 
of the South Kensington Museum and died in London in 1866. 

SYMONS, W. C 179, 281 

TENNANT, DOROTHY, see Stanley. 

TESSON. L 281 

TOXGE, ROBERP 21, 71, 79 

Born at Long ton, near Preston, in 1823, the son of the Vicar of the parish. He 
came to Liverpool to study painting and became a member of the Liverpool Academy 
in 1851, contributing regularly to their exhibitions. He was a gifted landscape 
painter, popular in his day, and his works have grown in esteem since his death, 
v/hicb occiir'*ed 0!i Jan. 14, 1856, in a tent in the temple of Luxor, Egypt, where he 
had gone in search of health. 

rOPHAM, FRANCIS WILLIAM 48 

Born at Leeds in 1808, and died in 1877. For many years he pursued the calling 
of a line engraver, picking up his education as a painter in a cursory fashion, and had 
60 far advanced that he was able to exhibit in 1832. ■ In 1844 he went to Ireland, 
where his special feeling for character, for picturesqueness and for colour, which 
dominate his work received ample stimulus from the scenes surrounding him, and 
his reputation was established. In the winter of 1852-3 he went to Spain, where he 
found still richer and more congenial material for his pencil. Ireland was visited 
again with his son, Frank W. W. Topham, in 1860. A further visit to Spain in search 
iff health, saw the end at Cordova in 1877. 

rURJTER, JOSEPH MALLORD WILLIAM, R.A 7, 42, 254, 254a 

Born in London on the 23rd of April, 1775, he became a student at the Royal 
Academy in 1789, and exhibited a picture at the Academy in the following year. In 
the early part of his career, he explored nearly the whole of England in search 
of subjects for his drawings, and devoted considerable attention to the subject of 
landscape composition ; his well-known Libr.r Studiorum being intended as an 
illustration of this branch of art. He first visited Italy in 1819, and from that time 
dates the commencement of his bolder use of colour. He was elected A.R.A. in 
1 799, and R.A. in 1802. He died at Chelsea, December 19, 1851, and bequeathed all 



the pictures in liis possession at death to the nation. 

CURRELL, ARTHUR ., 264, 274 

VARLEY, J. 181 

VICKERS, A. ... 97, 245 



Bom at Ne^vington, Surrey, in 1786. He exhibited at the Royal Academy and 
British Institution from 1814 until the year of his death in 1868. In his painting 
of the sea he evinced considerable mastery in rendering its movement, and aU his 
pictures display high finish and delicacy. 

VIJfCENT, GEORGE 82 

Bom at Norwich in 1796, was a pupil of John Crome. He first exhibited in the 
Royal Academy in 1814, and became recognised as an able landscape and marine 
painter. His death is supposed to have occurred in 1832. 

VURAM, J 3, 96, 152 

'WAAGEN 154 

WARD, EDWARD MATTHEW, R.A 117, 223, 277 

Bom at PimUco in 1816. Under the advice of Sir David Wilkie, he became a 
student of the Royal Academy in 1835, having, in the previous year, exhibited his 
first picture. He also studied in Rome and Munich. In 1852 he received a com- 
mission to paint eight historical pictures for the corridor of the House of Commons. 
Was elected A.R.A. in 1844 ; R.A. in 1855 ; and he died on the 15th of January, 1879. 



WATSON, W. 



348 



WEBB, JAMES 



143, 196 



WEST, SIR BENJAMIN, P.R.A 249, 219a, 249b 

Born at Springfield, in Peiuisyhania. North An\erica, the lad obtained some 
instruction from a painter in Philadeii)liia, named WilHams. While a youth he 
began to paint portraits in Pliiladelphia, thereafter he removed to New York, and in 
his twenty-second year, by the aid of friends, he was enabled to proceed to Italy. 
In 1763 he came to England, where he was received with such distinguished favour 
that lie settled in London, and for thirty-five years he was continuously employed 
by George III. West was an original member of the Eoyal Academy, and in 1792 he 
succeeded Sir Joshua Reynolds in the presidential chair. He painted principally 
historical and scriptural comj)ositions, many being on the scale of life size. West 
was the first to employ contemporaneous costume in modern historical pictures. He 
died March 11th, 1820, and was buried in St. Paul's Cathedral. 

WILLIAMS, JOSEPH LIONEL 234 

An English engraver and water-colour painter, born early in the 19th Century. 
He contributed to the "Art Journal," "Illustrated London News," and executed 
many book engravings. His water-colours, chiefly domestic in subject, appeared at 
the Royal Academy and other London exhibitions between 1834 and 1874. He died 
September 19, 1877. 

WILLMORE, A 309 

Engraver, bom at Birmingham, June 6th, 1814, and served his apprenticeship 
with his elder brother, J. T. Willmore. He first exhibited at the Royal Academy in 
1838 ; was a frequent contributor to the *' Art Journal," and engraved designs by 
distinguished contemporary artists for the illustration of books. He died 
November 3rd, 1888. 

WILSON, J. J 45, 288 

WILSON, JOCK 206 

Born near Ayr, August 13, 1774, he was apprenticed to a decorator in Edinburgh, 
and afterwards received some teaching in landscape painting from Alexander 
Nasmyth. He moved to London in 1798, and was one of the founders of the 
Society of British Artists, to which he constantly contributed. He kept up his art 
connection with Scotland, and was made an honorary member of the Scottish 
Academy. His death occurred at Folkestone, on April 29, 1855. 

WOHLGARTEN, JOSEPH VON 231 

WYATT, HENRY 251 

Born near Lichfield, in 1794, tie was sent at an early age to l^ondon, owing to 
the death of his father, and in 1812 he became a student at the Royal Academy. In 
1815 he was engaged as private assistant to Sir Thomas Lawrence, and subsequently 
he practised as a portrait painter at Binningham, Liverpool, and Manchester. 
Thereafter he lived some years in London, but by ill-health he was compelled to 
retire to Leamington, and thence he went to Manchester, where he died in 1840, at 
the early age of forty-five. 

YEAMES, WILLIAM FREDERICK, R.A 120 

Born at Tanganrog, South Russia, in 1835, he became a painter of romantic 
and dramatic interest. His first picture was exhibited at the Academy in 1859. 
He was elected A.R.A. in 1866 and R.A. in 1878. 

ZIMMERMANN, ERNST 29 

German painter, born April 24, 1852, at Munich, studied with his father, and 
subsequently at the Munich Academy, of which he was created a member. After 
travelling in Italy and Belgium he settled at Munich, where he painted historical 
and genre pictures. He died in 1899.